YT YouTube2Text

YouTube2Text → Transcripts → metadeception: the truth about oz pearlman

metadeception: the truth about oz pearlman — Transcript

by Baskin · 68,231 words · 10,143 segments · language en · Watch on YouTube

Open in transcriber Summarize with AI Download SRT/VTT

Full transcript

0:21Make sure I'm going to show it to you.
0:24>> It's not 2020. How'd I do, Joe? Is that
0:27your ATM pin code?
0:28>> Yeah.
0:32>> That's weird.
0:35>> I'm skeptical because I've got that pin
0:37code in the mail.
0:39>> [laughter]
0:40>> You know,
0:41>> he's calling his bank right now and
0:42being like, "Yo, do you know this? Has
0:43this guy been playing the long game?"
0:45>> Yeah, I don't like that.
0:48>> A little over 31 years ago, a novel was
0:50published, written by a man named
0:52Christopher Priest. The book's title,
0:54The Prestige, is taken from the final
0:57act of a magician's stage performance.
0:59The book's story got the attention of
1:01another Christopher, Christopher Nolan,
1:03who adapted the film for the big screen.
1:05The Prestige, now on IMDb, is currently
1:08sitting in its top 50 highest scoring
1:10films of all time. Christopher Priest
1:13said that a magician doesn't reveal his
1:15secrets because they're large and
1:17important. Instead, a magician doesn't
1:19reveal his secrets because they're small
1:21and insignificant, and that the
1:23wonderful effects that you see on stage
1:24are so often the result of a secret so
1:26absurd that a magician would frankly be
1:29embarrassed for you to learn that that
1:31is how it was truly done. In essence,
1:33the greater the trick, the harder it
1:35falls. The more impressive the illusion,
1:38the more embarrassing its revelation. I
1:41think Christopher Nolan understood this.
1:42In the film, Christian Bale's character
1:45has this scene where he's sitting in the
1:47audience of a magic show, and he
1:49discovers how this old Chinese magician
1:51performs his act. But he doesn't blurt
1:54out the secret. Instead, he does what I
1:56hope all of us would do and sits there
1:58with nothing more than a knowing smile.
2:01[applause]
2:13>> [applause]
2:16>> Now, I think it's natural to assume that
2:18a magician's trick is ultimately
2:19confined to the stage that he's
2:21performing on, that the deception
2:23essentially starts and ends with the
2:25show. But remember, magicians are in the
2:27business of exploiting your assumptions
2:30to force you to perceive the impossible.
2:33And your assumptions don't end with the
2:35show. Your assumptions aren't confined
2:37to the stage. The stage exists within
2:41your assumptions.
2:42>> Look at the man.
2:43>> This is the trick. This is the
2:46performance right here. This is why no
2:48one can detect his method.
2:52Total devotion to his art. Lot of
2:55self-sacrifice.
2:58>> I can barely lift. This thing is not
3:00even filled with water.
3:03>> He must be strong as an ax.
3:07>> He's been pretending to be a [ __ ] for
3:09years.
3:10>> Anytime he's in public, anytime he goes
3:12out, it's unthinkable. Bordon saw it at
3:15once, but I couldn't fathom it. Living
3:17my whole life pretending to be someone
3:19else.
3:20You know, it's interesting to compare
3:21Hugh Jackman's character's perspective,
3:23which is one that can't fathom the idea
3:25of living a life that's essentially a
3:26non-stop lie, with Christian Bale's
3:28character's perspective, which is one of
3:30total admiration for this old Chinese
3:32magician's complete devotion to his art
3:34form. His sheer and utter commitment to
3:36a lifelong magic trick. It reminds me of
3:39Yuri Gella, a Jewish magician who used
3:41magic tricks and gimmicks to sell people
3:42the idea that he had genuine psychic and
3:45supernatural abilities. and late night
3:46talk show hosts back in the 70s were
3:48helping him do it by concealing his
3:50methods in the name of entertainment
3:52until he hit the Carson Tonight Show
3:54which with the help of great skeptic
3:56James Randy set up a sequence of tests
3:57that gave Yuri Gella the opportunity to
3:59genuinely prove his abilities if he
4:02wanted to do it.
4:03>> And now these objects out here are uh we
4:06have some nails, we have some keys, we
4:08have as you can see some forks, we have
4:09some aluminum canisters. These are the
4:11type of aluminum canisters I guess a
4:12roll of film would come in. All of these
4:15objects have been supplied by us. You
4:16did not bring anything here at all. So,
4:19um, would you like to, uh, try anything
4:22here?
4:22>> Why don't you ask some more questions?
4:23>> Want me to ask you some more questions?
4:24You have to
4:25>> Can I ask when did you discover this
4:27power?
4:28>> Well, I was I think I was really born
4:30with this power.
4:31>> We are back. Your was telling me you you
4:34you don't feel what strong tonight. Is
4:36that
4:36>> I don't feel strong.
4:37>> It's not all tonight. Right now, I'm
4:40feel I'm feeling being pressed and then
4:42I can't. Well, I'm not trying to press
4:44you. I really not.
4:45>> No, you're only telling me, well, will
4:46you try that or that?
4:48>> Well, I thought that was the idea of uh
4:51of uh
4:52>> Now, Uriel was obviously unable to
4:54perform. But what's interesting is that
4:56he didn't break character. He just
4:58insisted that his supernatural abilities
5:00were somewhat intermittent and some
5:02nights he feels them more than others.
5:04>> That uh this was quite an important
5:06appearance for me here tonight. And uh
5:09really in other places I felt real good
5:11and I knew I could perform things
5:13because maybe this was and is an
5:16important appearance for me tonight. I
5:18might be blocking myself. And I want to
5:20tell you uh you know people ask me are
5:22you nervous before coming in sitting
5:24here? Uh I was very nervous tonight
5:27really. Uh maybe I can say my first time
5:29that I was really nervous appearing. Uh
5:32I heard about you when I was a little
5:34kid in Israel. You know, I can't help
5:36but wonder about the difference between
5:38the deception of Yuri Gella and the
5:39deception of the old Chinese magician.
5:42You know, they're both extending the
5:43stage beyond the stage. They're both
5:46continuing the trick long after I
5:47thought the trick was supposed to have
5:48ended. They're both moving beyond simply
5:50trying to amaze or puzzle me and are now
5:53trying to genuinely convince me of
5:54things that they know not to be true. As
5:56magicians, they're moving beyond the
5:58shallow kiddie pool of deception and
6:00moving into the deep uncharted waters of
6:03metad.
6:23Now, if you're anything like me, you
6:25probably find the metad of the old
6:27Chinese magician to be acceptable. Not
6:29only is it subtle and artistic, but it's
6:31a slight expansion of the stage illusion
6:33that has the positive effect of
6:35inadvertently encouraging us to use our
6:36lateral thinking skills to uncover the
6:38method. Yuri Gella, on the other hand,
6:40uses metad in a way that seems invasive
6:43and self- serving, even predatory, like
6:45he's trying to acrue unearned resources
6:48and status to himself by claiming that
6:50he has superhuman abilities that he
6:52definitely doesn't. But the interesting
6:55thing about metadception is that you
6:57can't consent to it. Like in the context
6:59of a magic trick, you consent to being
7:02deceived. But that's only within the
7:03confines of the performance. By
7:05definition, metad goes beyond the
7:08performance. This produces a kind of
7:10conundrum because metadception can be
7:12either acceptable or unacceptable, but
7:14you don't know until you open the box
7:16and check. But by the time you've opened
7:18the box, shredding his cats jumped out
7:20and you can never put it back in. So
7:23society has to split into group one
7:25who's essentially duped by metad and
7:28group two who realizes the metad and
7:31then has to inform group one as to
7:33whether it is acceptable or not. And if
7:35it's acceptable then they simply don't
7:36inform group one and the metad continues
7:39to have its positive effect. But if it's
7:41unacceptable then group two has an
7:43obligation to let group one know so that
7:45the metad can be stamped out. I I didn't
7:47mean that patronizingly at all because I
7:49have seen you on shows and I I thought
7:51the idea was to show if if you possibly
7:53could some of the things that you claim
7:56you can do and I'm certainly don't want
7:57to pressure you if you don't feel like
7:58you can't do it tonight or or don't wish
8:00to try. I certainly don't want to uh
8:02make you feel uncomfortable. I'm not
8:04trying to be skeptical. I would love to
8:06see these things. I really would.
8:08>> Right.
8:08>> Um is there anything else that appeals
8:12to you? Now if I'm pressing again uh
8:15>> well for example now you asked us before
8:17the the show and this afternoon for one
8:19one of our staff members to draw on a
8:21couple of cards and seal them in an
8:22envelope which we have done.
8:24>> Yes.
8:24>> Um
8:25>> well let me tell you again uh this
8:28didn't bend much and right now here I'm
8:30stuck. I don't feel for it more. So I
8:32don't want to be stuck either on an
8:33envelope.
8:34>> Mhm.
8:34>> Do you have the Who has the envelope?
8:36>> We have the Yeah, we have an envelope
8:37where we had three numbers and our
8:39thought was like you'd be able to guess
8:40what our numbers are.
8:41>> Who Who's not in this? I got an idea
8:42who's not even in this room right now
8:44that's associated with the show.
8:46>> Stephen and Alex.
8:47>> Yeah.
8:47>> Bring them in.
8:48>> Coupe. Yeah. You want me to get them?
8:50>> One or two of them.
8:52>> Now, the last thing I want to say before
8:53we jump into the analysis of O Pullman
8:56is that not only does meta deception
8:58raise this interesting ethical question,
9:00it also presents a beautiful opportunity
9:02to learn something about ourselves. I
9:04said before that magicians are in the
9:05business of studying your assumptions in
9:07order to guide your perceptions towards
9:09acknowledging the impossible. And so
9:11with each magic trick that you uncover,
9:13whether you work for it and figure it
9:14out yourself or someone else tells you
9:16the secret, you gain a little bit of
9:19knowledge about how you were previously
9:21fooled. And because metad is fooling you
9:24on a much deeper level, the capacity for
9:26self-nowledge becomes deeper still. And
9:29so keep that in mind as we jump in.
9:33>> You wanted to do something fun.
9:34>> Yeah.
9:35>> I walked in here. Let's let's explain
9:36what happened. I got in here. I was
9:37soaking wet.
9:38>> Kosh was wet, too. And I asked you and
9:40we have one of the bookers, Ari, who
9:42came in here who does not believe any of
9:43this crap who said like there's just no
9:45way. And I said, "Do you have books
9:47here?" Is that is that what was
9:48assessed? I I asked, "Were you here with
9:50this question?"
9:50>> I wasn't, but this is a whole thing.
9:52>> Okay. So, let me ask you a question. Has
9:53the trick already started? If you don't
9:55know, the trick involves getting two
9:56books. People are going to be choosing
9:58words from these books in interesting
9:59ways, and then Oz is going to use his
10:01mentalism uh to reveal what words were
10:04chosen. Now, it doesn't look like that
10:05specific trick is happening here at all,
10:07right? But remember, metad is deception
10:10that breaks free of the confines of the
10:12performance of the trick and uh
10:14influences how you perceive the
10:16deception that occurs within the trick
10:18or even whether you perceive any
10:19deception at all. Just so you really
10:22understand this concept, I want to leave
10:23O for a moment and visit a trick by
10:25Darren Brown.
10:44I invited two members of MBA, an [music]
10:47advertising agency, to a secret location
10:49to propose an unusual task. [music]
10:52Those who work in advertising are
10:54masters of persuasion. They subtly weave
10:56their images and slogans into our daily
10:58lives, knowing that we will register so
11:01much [music] unconsciously.
11:03And then we walk into a supermarket and
11:05feel a sense of familiarity with a
11:06product we think we've never heard of.
11:09Millions of
11:11>> Okay. So, does it seem like you are
11:14about to watch a magic trick? No. Does
11:16it feel like you're watching a
11:18documentary? Yes. Does it look like
11:19you're watching an interesting
11:20documentary? Yes. And Darren Brown is
11:22about to make it even more interesting.
11:24Uh if you haven't seen the trick, Darren
11:26has these guys picked up in a taxi and
11:28brought to him uh in a in a room in a
11:30corporate building where he is going to
11:31give them a job to do. That job is to uh
11:34look at all of these stuffed animals and
11:36design an ad for a taxiderermy shop.
11:38Darren is then going to have a
11:40prediction of the ad that they are going
11:42to design and place it under this
11:44stuffed cat.
11:45>> Good luck.
11:46>> Great. Thanks. [music]
11:47>> Right, let's go for it.
11:50>> Get stuffed is a start.
11:52>> Animal hospital. The ones who [music]
11:53didn't make it. I know that's probably
11:54just stupid.
11:56>> The wings.
11:57>> All creatures great and small quality
11:58[music] that says like nice positive
12:00type clouds with animals on them. Gates.
12:04Pearly gates. Bear pl. [music]
12:06>> Yeah. Only the best get in. Only the
12:08best get into it.
12:12>> It's simple.
12:12>> Time up, gentlemen.
12:14>> I can't wait to see what you've done.
12:16Uh, come and show me.
12:17>> Okay. And Tony, before we do this, can
12:19you take the uh envelope I gave you
12:21earlier and can you please
12:23>> vouch for us here that no one's been
12:25anywhere near it. He's been under a dead
12:26cat. No one's touched it.
12:27>> That's right.
12:27>> That's the truth. That's the truth.
12:31>> Can I have a look?
12:32>> Sure.
12:32>> Sure.
12:34>> Is this it?
12:35>> Yeah.
12:37>> That's fantastic.
12:40>> It's a bear with a liar.
12:41>> So, it's Animal Heaven, the best place
12:43for dead animals.
12:46I do want to show you my own ideas from
12:48beforehand.
12:49>> Okay.
12:50>> Um I don't want to touch
12:52>> I don't want to touch I don't want to
12:53touch.
12:54>> Would you open them for me?
12:55>> Sure.
12:57>> Hang on to that.
13:00>> It's Yeah.
13:01>> It's a heart playing bear.
13:02>> Yeah.
13:03>> God.
13:03>> You've gone for these angel wings here.
13:05Were you thinking of angel wings or bird
13:06wings?
13:07>> Yeah. Well, they were kind of a
13:08combination.
13:09>> You do them a lot better than me. This
13:10this was the same thing. I was thinking
13:11angel wings. There you've got animal
13:13heaven. I got creature heaven.
13:15>> Yeah.
13:16>> Where the best
13:16>> You're a bit off there then.
13:17>> A bit off there.
13:18>> Where the best dead animals go. You put
13:20blessed with dead animals. Very similar.
13:22I had the idea of a zoo gate on the
13:24>> It was hard to leave.
13:25>> We didn't overload it.
13:26>> Had the idea of a zoo gate on there.
13:28>> It was hard to leave.
13:29>> We didn't overload it.
13:30>> It was hard to leave out, but wasn't was
13:31just a bit too much.
13:33>> But it's just just the gates.
13:35>> Yeah.
13:35>> Oh, gentlemen, please.
13:37>> We're drawn quite similar.
13:38>> Look at that. This this was the image I
13:41was thinking. I've done it there in the
13:43background because this to me was the
13:44more striking image. And interestingly,
13:45you abandoned this for this one. This
13:47was obviously your mind.
13:48>> The first bear I drew looks exactly like
13:50that one. Actually,
13:51>> it did. Yeah.
13:51>> The first bear you
13:53>> should show you on the on
13:55>> Oh, look at that.
13:57>> Look at that. Got the cloud. You got the
13:58blue. If you knew the amount of effort
14:01we've gone into making this work, you'd
14:04be absolutely flabbergasted.
14:06But for now, it's comforting to know
14:08that you're just as susceptible to
14:10subliminal persuasion as the rest of us.
14:12Thank you very much for helping us out,
14:14Tony. Martin, pleasure.
14:15>> Take care. Thank you very much indeed.
14:18>> Darren then reveals that that taxi ride
14:20that he had taken them on was actually
14:22full of all this subliminal messaging
14:24that positioned them to create the ad
14:26that they created.
14:27>> To see how we did it, watch their taxi
14:30journey again.
14:33>> I put a spell on you.
14:41You're mine.
14:50You better stop the things you do.
14:58>> The problem is that none of that is true
15:00at all. Uh what you saw was essentially
15:02a magic trick. And how that trick worked
15:04is uh Darren had an artist in another
15:06room who was able to spy on these two
15:08marketers as they designed their ad and
15:10was creating an ad of his own that was
15:12strikingly similar but had some
15:13important differences to make sure that
15:15it seems realistic. And uh Darren Darren
15:17just simply does an envelope switch and
15:20uh brings out the artist's drawing and
15:22makes it seem like that prediction was
15:23there the whole time. We don't see it
15:25because it's just simply camera edited
15:26out of view. We don't ask any questions
15:28about that because it seems like we're
15:30watching a documentary. So because of
15:32the power of metad especially when
15:33wielded by a talented performer, an
15:35extremely talented performer like Darren
15:37Brown, uh there's going to be a huge
15:38chunk of people who are not going to
15:41accept that this uh is a magic trick and
15:43that there was an envelope switch at
15:44some point and that really this is a
15:46demonstration of the power of subliminal
15:47messaging and you know Darren is getting
15:49one back against those corporations that
15:51manipulate us all the time into buying
15:53their products. Um now mentalists and
15:55magicians are going to know that there's
15:57something up. People who are familiar
15:58with the science of subluon messaging
16:00are going to know that what Darren is
16:02suggesting goes far beyond what is
16:04actually possible to do with that kind
16:06of persuasion. And uh but the average
16:08person is going to be defenseless. And
16:10so the best way to break uh this metad
16:13for what it is is to really just kind of
16:15test the veracity uh the truthfulness of
16:18what uh Darren is saying. And so you
16:20know the story is that he's got this
16:22envelope and he comes in and he places
16:24this dead cat uh on the envelope. Now,
16:27this uh dead cat is actually going to
16:28function as a misdirection away from the
16:31truth. It seems like it's the thing that
16:33holds that envelope accountable, but
16:34it's actually the thing that distracts
16:36you from the fact that uh that is where
16:38the heart of the trick lies. Uh now, pay
16:41attention just to the fact that, you
16:42know, not only is Darren placing this on
16:44the envelope, but look at what I'm going
16:46to call the bottom right hand corner of
16:47the envelope and then, you know, just
16:48the end of the the dead cat's tail. And
16:50notice that they are quite close to each
16:52other. Now, you know, Darren leaves,
16:54gives them 30 minutes. They uh go ahead
16:56and design their ads. And then Darren
16:58returns into the room. Big smile on his
17:00face. And as they go over to the board,
17:02he then, you know, asks one of these
17:04marketers to pick up the envelope. And
17:07uh, you know, they um verify that no one
17:10has done anything with the envelope,
17:12that it stayed there the whole time. Uh,
17:14which is really convincing, but also
17:16kind of silly to rely on their
17:17testimony. uh because they're not
17:18magicians and uh why would they have any
17:20expertise if a magician has done
17:23something suspicious? That's his whole
17:24job is to do suspicious things in ways
17:26that people don't realize. Uh but
17:28nevertheless, if we're just going to
17:29scrutinize this here, we see that the
17:31bottom right hand corner of the envelope
17:33is nowhere near the end of the tail. And
17:36so that cat has changed position. Uh
17:38which is something that would happen if
17:40someone had to lift it up and put a
17:41different envelope uh under there. So,
17:43we can certainly see that Darren's story
17:46isn't lining up. And it certainly makes
17:48sense in terms of the science of what we
17:50know of subliminal messaging that really
17:52how this trick was done uh was was by
17:56switching out that prediction. It also
17:57kind of makes sense if you think about
17:59uh the fact that, you know, Darren
18:00actually wants to go back uh to some of
18:03the earlier um uh drawings that they
18:07made, you know, when he comes here on
18:09the table. And there's even more
18:11striking uh resemblance uh between those
18:13things. And that's just because, you
18:15know, these these are going to be the
18:17first things that Darren is actually
18:18drawing uh or the artist is drawing uh
18:21when they're spying on the the marketers
18:23as they design the ad. And so, yeah, and
18:25then and then you'd also think, you
18:27know, maybe maybe it would be satisfying
18:29to actually take these guys out and to
18:31actually, you know, show them some of
18:32the things that uh they drove past in
18:34the taxi. But of course that's
18:36impossible uh because those things don't
18:38exist yet. Uh Darren has to has to go
18:41and set those things up in the the
18:43following days after getting this
18:45footage. So there you go. There is uh
18:47what I would consider pretty solid proof
18:49uh that this is uh not a documentary.
18:52It's not a demonstration. This is a
18:54dressed up magic trick.
18:56Welcome to the penicious world of metad.
18:59you can actually position yourself to
19:01have a confronting experience when you
19:02reflect on the name of the series, which
19:04is mind control. It positions us to
19:06think that Darren is using this
19:08subliminal messaging to control the
19:09minds of the marketers. But in reality,
19:12he's not controlling their minds at all.
19:15Uh he's controlling your mind. To the
19:18degree that you were convinced that he
19:20used subliminal messaging,
19:22Darren had control over what you believe
19:25is true about the world.
19:27What could be more controlling than
19:28that? And so that's what I mean by
19:31metad. It's deception that goes beyond
19:33the performance of the trick itself,
19:35which in this case is just the envelope
19:36switch and obscures or completely
19:38obliterates your ability to spot that
19:40there was any envelope switch at all.
19:43That's the power of metad. It's worth
19:45noticing that O is a big fan of Darren
19:47Brown and and heavily influenced by him.
19:49And this story that Darren sells, you
19:50know, the amalgamation of the subliminal
19:53messaging uh causing the the marketers
19:55to draw what they drew. O does a very
19:57similar thing on the Jimmy Fallon
19:58Tonight Show, except he does so uh in a
20:01more powerful way, in my opinion,
20:03because he doesn't call explicit
20:04attention to it. Now, O is a different
20:06performer to Darren. He has a completely
20:08different sort of presenting style. He's
20:09much more extroverted and in-your-face.
20:11But what O does here is he just kind of
20:13plants these little seeds. They think
20:16that I'm a time traveler. Jimmy, woman
20:18in purple, two men in black, woman over
20:20there smiling. Every one of you out
20:21there, you're going to slap. I want you
20:22to slap THOSE HANDS TOGETHER HARD.
20:25SHOW EVERYBODY WHAT IT SAYS. SHOW IT TO
20:27EVERYBODY.
20:28>> He did a similar thing on the Ellen uh
20:30show where he does call attention to it
20:31and he does invite you to kind of go
20:33through and find all the little
20:34subliminal messages uh that he planted
20:36along the way.
20:37>> First, I try to read your tells, your
20:39non-verbal communication. Second, I try
20:42to plant thoughts in the back of your
20:44head. Subtle suggestion that influences
20:45your thoughts and behavior. Let's do
20:47this. You ready, Ellen? And if I do this
20:49right, everyone at home, if you watch
20:52this over and over and over, is going to
20:53be able to piece together how I did it.
20:55How's that?
20:56>> But he doesn't even call explicit
20:57attention to it in the Jimmy Fallon
20:58show. And so, when everyone chooses Will
21:00Smith, you know, people in the comments
21:02are like, "Yes, I'm on to this guy. I
21:03figured it out." And it's so powerful.
21:05Now, it's a complete red herring. It has
21:07nothing to do at all with why the
21:09audience chose Will Smith. And we'll
21:10talk more about that later, but man,
21:12super powerful to misdirect people
21:15without even telling them that that's
21:16what you're doing.
21:18>> Teller is fond of saying that the
21:20strongest lie is a lie the audience
21:21tells itself.
21:23>> So when we go back to O's, keep in mind
21:25that yes, he's setting up the real world
21:27context, but that's exactly what Darren
21:29Brown did here in the first 30 seconds
21:31of this video.
21:36So right now O has set up a metadaptive
21:39context and he's done that by talking
21:41about things that have happened in real
21:43life. His first words were, "Let me
21:45explain what happened." And then he's
21:46talking about turning up to the studio
21:48wet, asking the producers if they have
21:50any books. This conversation with the a
21:52booker Ari and about how she's super
21:54skeptical, asking the hosts whether they
21:56were there or not. All of this is very
21:58real world context and that sets up this
22:00meta metad domain where O's it's just
22:04prime real estate for O because if he
22:06can misdirect you at this level or if he
22:08can deceive you at this level he's
22:10pretty much got it made because when it
22:12comes to the actual trick that he's
22:14going to do in 60 seconds you're going
22:15to be virtually defenseless. There's
22:17going to be no way for you to actually
22:18spot that deception because you've
22:20already been deceived up here where you
22:21weren't expecting it in a much deeper
22:23way. So yes, the trick has absolutely
22:26started. He set up that metad. Now we
22:29just need to keep our eyes and ears
22:31peeled for what kind of metad O is going
22:34to guide people towards.
22:37>> And so I told them to go get any books.
22:39I said ideally get two or three books
22:41that these are forgetting my books. I
22:44don't even think they're your books.
22:44They wouldn't pick them up and they
22:45brought them in. It was not do of who it
22:48was another young woman. Was it
22:49>> Don't let him change books right now.
22:51>> Tanya Tanya, where are the books that
22:52were brought in? These are not my books.
22:54I It's like I don't know whose books
22:55these are. Do you guys even know? Were
22:56these given to you by someone on the
22:58show? Are they I don't know who they
22:59are.
23:00>> Okay. Yeah, those those are our books.
23:01>> Okay. So, what is the metadception? It's
23:04all going to be built around this theme
23:05of the fact that O has not interacted
23:07with these books before. He's saying
23:09these are not my books. I don't know
23:11whose books they are. I don't know who
23:12wrote these books. I know nothing about
23:14these books. Um that's the metad. He's
23:16going to lean into it hard for the next
23:1860 seconds or so.
23:19>> Super plug right here. Okay. Yeah. Shout
23:21out.
23:22>> We have our CIA handler, Andrew Bamonte.
23:25Yo, he was awesome.
23:26>> Yeah. Yeah, he's great. And uh he has a
23:28book coming out. So that's shout. This
23:30sounds like a big plug. It's not a big
23:32plug. And then we also have a roar in
23:34Harlem based on true events.
23:36>> Can we unique producers here to explain
23:39that? I have never set eyes upon these
23:42in Harlem.
23:42>> Okay. Super powerful for O to appeal to
23:45the authority of the producers that
23:47nothing suspicious has happened behind
23:49the scenes.
23:49>> Producers, have I been in this house?
23:51Are these your books? Have I touched
23:53anything?
23:53>> You got here 30 minutes ago. This is
23:54like this is a great misdirection uh
23:56because it seems like the producers are
23:59essentially the gods are the ultimate
24:01gatekeepers of everything that happens
24:02behind the scenes on a podcast like
24:04this. In reality, appealing to the
24:06producers, the producers are actually a
24:08really weak authority to appeal to. Why?
24:11Because they're not magicians. These are
24:13producers, right? These are people who
24:14make a podcast. They have no training in
24:17magic at all. And they just invited a
24:19magician with decades of experience into
24:22their house. Think about it this way. O
24:24is the O is a is a magician who is an
24:27expert at doing suspicious things in
24:29ways that don't seem suspicious. And
24:31he's in a house full of people who have
24:34next to no expertise in that field
24:35whatsoever. This is a guy who can just
24:38do whatever he wants. Absolutely
24:40whatever he wants. We're going to switch
24:42to the or just temporarily we're going
24:44to visit the We Might Be Drunk podcast
24:46cuz I want you to see exactly what O has
24:49done with the books beforehand. He only
24:51needs 8, nine, 10 seconds with the
24:53books, but he's so good at what he does
24:55that he's able to do it right in front
24:57of the host's faces uh in a way that
25:00just seems completely innocent. Five
25:02people are there watching him do it and
25:04none of them uh call any attention to
25:05it. That's how good this guy is. So,
25:07let's watch that
25:08>> where somebody gives you a look and then
25:10you just realize they're just kidding.
25:11But it got real serious.
25:12>> We got mine cop and offer.
25:14>> I think dude, you know what I think of
25:15is you know the scene where Paulie
25:16Walnuts goes to the to the guy. So, I
25:19should say the reason Oz is doing this
25:20on camera is one, he wasn't planning on
25:22doing the trick. The hosts are just
25:23having such a great time that they want
25:25him to do another trick and he's just
25:26been like, "Okay, can you find me some
25:27books?" Two, because the information
25:29that he needs from the books is so
25:31relatively small and it doesn't take him
25:33long to get there. He can do it in this
25:35super nonchalant way where the deception
25:37is just totally inconspicuous. Uh, so
25:39just so you know, the information that
25:41he needs to get is he's got two books.
25:43He needs to know which of the books has
25:44the least amount of pages. And then of
25:46that book, the one with the smallest uh
25:47pages, he's going to open up to a page
25:50roughly somewhere in the last third or
25:51so of the book and memorize the page
25:53number and the first word on that page.
25:55That's it. That's all he needs. It's
25:57going to take him all of like 8 n 10
25:59seconds to do. And uh but what's
26:00impressive is how he does it in this
26:02nonchalant way, but then carries on a
26:05conversation with everyone as he's doing
26:06it, which just completely disguises it.
26:08It's amazing to watch.
26:11>> You can see the psychic.
26:14>> There's all kinds of bodies. He's like,
26:15"Where the [ __ ] did you figure that
26:17out?" He starts throwing.
26:18>> So, you can see he's towards the end of
26:19the book. He sees how many pages book A
26:21has. He picks up book B, sees that it's
26:23got more pages.
26:24>> Most recent episode,
26:25>> puts it down, immediately. Goes back to
26:26book A. Now, he's just finding that
26:28page. Looks like he's going to choose
26:30this one. Right now, he's just
26:31memorizing that page number and the
26:33first word on that page. That's
26:34everything he needs.
26:36>> Nick Offerman [ __ ] rules. We love
26:38him.
26:39>> And shave bodega had a nice plug, too.
26:41>> You got that right.
26:42>> This is his face. Is this good? stuff.
26:45>> See, now if you're someone like James
26:47Randy and you're trying to catch Yuri
26:48Gella, then you know that this is how O
26:50does his trick. So he comes on the show
26:52and he starts telling your producers,
26:53"Hey, can you go buy me a book?" Blah,
26:55blah, blah. And if you're trying to
26:56catch him, then you know you'll make
26:58sure that you keep the books in a safe
27:00and that you never let him interact with
27:01them at all. Do you think that's what
27:03they did on Flagrant? No way. Right.
27:04It's in some 21-year-old's intern's uh
27:06bag. He comes up to them and look at how
27:09nonchalantly he did that. Do you think
27:10he's going to be able to do that on on a
27:12podcast that isn't trying to catch him
27:14and just get that that little bit of
27:15information that he needs? Right, the
27:17smallest book. Memorize the page number.
27:19Memorize the first word on the page.
27:21He's going to that's going to be a
27:22breeze. Look at how easily O controls
27:25scenarios like this. O is the king of
27:27behind the scenes, the backstage. That's
27:29where he really shines. And it's also
27:31where you never get to see him operate.
27:32You know, that's by design. But he's got
27:34everything he needs. Just remember that
27:36he's got to hold on to this information.
27:37And we're going to go back to the
27:38Flagrant podcast and see how he does the
27:40rest of the trick.
27:41>> We're in Harlem.
27:42>> What's that?
27:42>> I don't I don't think this is even out
27:44yet. So, I don't know if there's a way
27:45you could,
27:46>> you know, that's even better. Give that
27:47to anyone you want right now. Hand that
27:48to somebody or you can take it. Whatever
27:49you want.
27:49>> I will take it. I would like to be part
27:50of this magic.
27:51>> Perfect. Take that book. And is it okay
27:53if I take that one for the first time?
27:54Grab that one.
27:55>> Do you want it?
27:56>> Is that
27:57>> So, for the first time, you can see how
27:58important this meta metad is to O. And
28:01he's he's not going to let up. He's
28:02going to keep ramming it.
28:03>> Okay.
28:04>> Yeah. Do everything.
28:04>> All right. Here's what I'm going to do.
28:05Let's get let's get teamwork. Teamwork
28:08makes the dream work. I'm gonna hold
28:09this up. Okay.
28:10>> And is there Wait, before I don't want
28:11to look at it. Are there pictures on any
28:13of the pages? If so, I just don't like
28:15if it's Is there a lot of pictures?
28:16>> One picture,
28:16>> but there's not like a ton of pictures.
28:18Is that right?
28:19>> So,
28:19>> so that's super powerful misdirection by
28:22showing them the book and saying, "Hey,
28:24can you just do me a favor? I don't want
28:25to look at it. Can you just make sure
28:26that there's no pictures here on the
28:28pages? I don't want to use a book that
28:29has too many pictures." By doing that,
28:31what does he do in their minds if
28:33they're going to comply with that
28:34request? Well, they're going to
28:35automatically and subconsciously
28:37generate an inference. And the inference
28:39is that they're looking to check if
28:41there's pictures because OE doesn't know
28:43if there are pictures. And if O doesn't
28:45know if these pages have pictures, then
28:47it's because he's never looked at the
28:48book before. That's the goal. That is
28:50the sole purpose of him asking that
28:52question is to just create the
28:54impression to just drive the
28:55metadception home even harder that he
28:57has never interacted with these books.
28:59They are completely foreign to him. do.
29:01I'm gonna flip through this book like
29:03this whenever you want. Mark, you're
29:06gonna say stop.
29:09Right at that moment, stop me. If I go
29:11one page past, you let me know. Me and a
29:14hard eye contact. Look at his beautiful
29:16eyes. This guy either is freezing or
29:18angry the whole show. [laughter]
29:21All right, I'm looking over at you. Make
29:22sure I'm going nice and slow, like
29:24steady, whatever I want.
29:25>> Okay, so there's a couple of things that
29:26have happened here. When a magician is
29:29going to riffle through something like a
29:30deck of cards and tell you that they're
29:32going to say stop, that is a universal
29:34signifier to virtually every magician on
29:36the planet that there is slide of hand
29:38that is about to be used. Usually, it's
29:39because a magician is about to force you
29:41to make a card and wants to make it seem
29:43like it's a free choice. In this case, O
29:45is about to use some slide of hand. But
29:47what's interesting is that he's actually
29:49not going to force Mark to choose a
29:52particular page. Mark genuinely has a
29:54free choice. And so what would normally
29:56be suspicious O's can now lean into and
29:58turn into a misdirection in and of
30:00itself. And so he can actually say to
30:03Andrew in a cash, I want you to pay real
30:05close attention. Make sure that I stop
30:07exactly where they say stop. That I
30:10don't go one page too far. If I do, you
30:12let me know.
30:13>> Yeah.
30:13>> Okay. Whenever you get an urge, you say
30:15stop. And we're going to stop right at
30:17that page. If I go one too much, you go
30:19go back or go forward. Like you got to
30:21be you're in charge of this. Okay,
30:22>> this is all a misdirection because, as I
30:24said, it has nothing to do with forcing
30:27Mark uh to choose a particular page. The
30:30last words out of Oz's mouth before I
30:32paused it was he was telling uh Andrew,
30:35I believe, to make sure that he goes
30:37nice and slow as he riffles through the
30:39pages.
30:40>> Look, you could do it, but can you see
30:42the pages flipping by your eyes? Not not
30:44you, Bert. I'm talking to you while
30:46singing to him. I know it's strange, but
30:47are they going nice and slow, Kotti?
30:50>> Yeah. This is another misdirection, but
30:52it's it's just kind of throwing a lasso
30:55around Andrew's attention and drawing it
30:57tight into this uh space of him flicking
31:00through the pages. What this does, and
31:02this so this is super interesting
31:04because O is going to do a slide of hand
31:06move with his fingers. The slide of hand
31:09is going to happen right there in that
31:11circle of view. And yet, that's exactly
31:14where he's bringing Andrew's attention
31:16to. Why is he doing that? Well, it's
31:18because of a psychological principle.
31:19Have you seen that experiment where they
31:21get uh some uh men to pass a basketball
31:24or a ball between each other and your
31:26job is to count how many times they pass
31:28the ball? And because your brain is
31:30occupied doing that, you don't see, you
31:31know, the lady with the umbrella or the
31:33bear or whatever it is sort of walk
31:35right through the men as they're passing
31:37the ball. That's the same principle. By
31:39by using this uh idea of making sure
31:42that he say that he stops exactly where
31:44he says by making sure that he riffles
31:46nice and slowly and fairly he's
31:48misdirecting their attention to
31:50completely miss what he's doing even
31:53though the suspicious activity is
31:54happening right in front of their eyes.
31:56So you can see how absolutely masterful
31:58O is of doing suspicious things right in
32:01front of people. And it's because he
32:03uses metad tactics to take control of
32:06their mind and force them to perceive
32:08something that is completely irrelevant
32:10to what he's actually doing.
32:11>> And I'm gonna go through it whenever you
32:13is it right there. I want you to take a
32:14look at the first word.
32:15>> Okay, so that was the side of hand move.
32:17I mean,
32:18>> how amazing is that? We'll go back and
32:20we'll watch it again in slow motion. Um,
32:22it's incredible.
32:24>> Like steady whenever I want and I'm
32:26gonna go [clears throat] through
32:27whenever you Is it right there? I want
32:29you. So right there, that's the move.
32:33Oza's left hand has got the left hand,
32:36uh, sorry, the right hand side page from
32:38Mark's point of view, and he's just
32:40peeling back the corner of that book.
32:42And what that does right here, he's
32:44peeling back this corner. It's going to
32:46open up this line of sight so that he
32:48can see directly what the first couple
32:51of words on that left hand side page.
32:53And so then when he opens up the book,
32:55>> look at the
32:56>> boom, there it is. in that split second.
32:59Oza is a smart guy, right? He's got the
33:01high verbal IQ thing going. Um, he can
33:03read the first couple of words in a
33:04split second. In fact, most of us who
33:06are familiar with the English language
33:07can do that. It doesn't take long to
33:09read a couple of words. Good
33:10>> photo.
33:11>> Stop. Do me a favor. Look at the first
33:13word on the page up here.
33:14>> Yep.
33:14>> Do you see it?
33:15>> Yeah, I do.
33:16>> Whenever you want Kotti to say stop. Is
33:17it this in the spot? Yep.
33:18>> Okay. Do me a favor. Take a look at the
33:20first word or two.
33:22>> What? Anywhere?
33:23>> No. Like at the top. It's usually an
33:24impulse buy. It's like a candy bar
33:26thread. first word on the page. Do you
33:27see it?
33:28>> Y
33:28>> close the book.
33:30>> But it's just so imperceptible. Like
33:32there's no chance that you would you
33:33you'd see that if he was doing it live.
33:35Like we would all just completely fall
33:37victim to that. It's such a clever move.
33:39What's more is that immediately he tries
33:41to bring it back uh to this question of
33:43stopping fairly. Um but what's amazing
33:46is the conversation that actually
33:47happens between him and Andrew. So let's
33:49look at that
33:50>> first word or two on the page. Mhm.
33:53>> Is there any way in the world that I
33:55influence where he would stop?
33:57>> No. Which page? Because there's two
33:59pages.
33:59>> I don't care.
34:00>> That's insane from Andrew to bring that
34:02up. The reason that Andrew asked that
34:04question is because he doesn't have
34:07Mark's point of view. Mark is looking at
34:09the left-hand side page because again,
34:11look at what Oz is doing. He's push he's
34:13pushing it forward. The the other thing
34:15is that these are new books and so the
34:17seam the glue on the books is still
34:19going to be fresh and strong. So the
34:21first words on the right hand side page,
34:23they're going to be tucked into the
34:25binding of the book. So they're not
34:27going to be readily visible. But for
34:28Andrew, who's sitting over here, who
34:30doesn't have Mark's viewpoint, he's just
34:32imagining the trick in his head. And so
34:34when O says, "Check the first word or
34:36two on the page," Andrew's like, "Wait,
34:38which page am I looking at? There's two
34:40pages here." And but how O deals with
34:42that objection, which has the
34:44opportunity to completely derail the
34:45trick. There's only one page that O's
34:48can have these guys look at and it's the
34:50lefthand side page. That's the only one
34:51that he's able to peek at as he's
34:53opening the book. Right. These words on
34:54the right hand side page are completely
34:56hidden. But look at how O deals with
34:57this mini objection.
35:00>> No. Which page? Cuz there's two pages.
35:02>> I don't care. Did you look at something?
35:03>> Yes.
35:03>> Perfect. Did you each look
35:04>> I don't care. Did you look at something?
35:06The I don't care is a blatant deception.
35:08Of course he cares. It must be the first
35:09words on that lefth hand side page. but
35:11then immediately close the book so that
35:14Mark uh and Alex have no chance
35:16whatsoever to be like, "Oh yeah, maybe
35:18I'll go over the first words on this
35:20page to close the book and just
35:21completely remove that possibility."
35:23Awesome move by O. Uh so O now knows the
35:27first uh word or two on the page. Uh
35:29they've chosen one of those two words. O
35:31just needs to figure out which word did
35:32they choose. So he knows both. He's been
35:34able to glance at both. He's got to
35:35figure out which word did they choose.
35:36>> Look at a word.
35:37>> Yeah.
35:38>> I wonder. Okay, grab it. Okay.
35:39>> I said first word or two because if you
35:41start reading then you start looking for
35:43words you like. Yeah. I didn't I want
35:45this to be random.
35:46>> Random. Random. Random.
35:47>> If I was going to tell you to pick a
35:48word you like, I say pick any page.
35:50>> That's good misdirection there. Again,
35:52he's justifying using this entire method
35:55and he's kind of leaning into that
35:57mentalism uh interpretation. He's a
35:59master of reading your body language,
36:01figuring out what you're you're
36:02thinking, all of this. So, in order to
36:04make it more difficult for him, he's got
36:06to use this method where you've just got
36:07to read the first word on the page in
36:10order to make it random. So, it's a
36:11genuine test of his mentalism skills.
36:13Uh, that's really clever, Mr. Action by
36:15Ow, as well.
36:18>> You were quick on it. Did you do the
36:20first word?
36:20>> Correct.
36:21>> Did you also do the first word?
36:22>> Yes.
36:22>> Interesting. Cuz I I offered it to you.
36:24I wonder what
36:25>> And that's amazing. Uh, he just figures
36:27out which of these two words have they
36:28chosen just by asking them.
36:30>> That means they both like the word.
36:32probably means it's not and the he, she,
36:33if. Take this.
36:37I'm gonna go nice and slow.
36:39>> Okay. So, what's this is important. What
36:40we're about to see, the word that those
36:42guys have just chosen, uh, spoiler is
36:44Manhattan. That's the word that O was
36:46was able to glance at in that split
36:48second as he was opening the book.
36:50That's the first word on the page at
36:51least. Um, O is not going to reveal that
36:55secret or, you know, that word right
36:57here, right now. he's going to
36:59immediately go into part two of the
37:01trick. And the reason for that is a
37:03princip a principle that Pen and Tella
37:05uh talk about in their master class,
37:06which is that if you can do what
37:08essentially seems to be the same trick
37:10using two different methods, then those
37:12methods, the weakness from each of those
37:14methods cancels each other out. And so
37:16that the memory in the audience's mind
37:18becomes something that is genuinely
37:20truly impossible.
37:33the the audience is an active
37:35participant in their own deception by
37:38the trick.
37:41One very common form of misdirection is
37:44to do a trick and then apparently repeat
37:46it, but repeat it by a different method.
37:52So imagine that I've just produced a
37:54coin here. If in the next moment you see
37:58this hand empty and now I produce a
38:00coin, you assume that those two methods
38:01were done by the same way.
38:03>> It's a very powerful thing. Do it one
38:05way, do it another, then do it another
38:07way. And the audience perceives those as
38:10the same things and they are
38:12self-cancelling.
38:14So, you remember that on the We Might Be
38:15Drunk podcast, we saw O's handle the
38:17books for about eight or nine seconds
38:19and he was able to uh get that
38:21information that he needed. What was
38:22that information? It was the information
38:24from the book that had the smallest
38:26number of pages and then he opens up to
38:28a page on that book and he uh gets the
38:32he memorizes the page number and the
38:34first word on that page. So, I can tell
38:36you right now that the book with the
38:37smallest number of pages is the book
38:39that is in Andrew's hand. He has right
38:41now the book with the largest number of
38:44pages. And the reason he needs the book
38:45with the largest number of pages is for
38:47the exact reason you're about to see.
38:48Let's watch this.
38:50>> Bring your book close to you. As I'm
38:52going, yell out.
38:55Stop. Tell us what page.
38:56>> So, notice something here. Look at how
38:59far O is to the end of the book.
39:01>> So, Dom, as I go, whenever you want, you
39:03just say stop. Stop. So, he's making
39:06sure that he's in that realm where he's
39:08in the area of pages that are larger uh
39:11than the other book.
39:12>> Either side, either direction you want.
39:14Tell us which page.
39:15>> 355.
39:16>> Go to 355. Go to 355. Tell me when
39:19you're there.
39:20>> Uh do you have more pages?
39:22>> We don't have 355.
39:23>> Okay. Do it again. Do it again.
39:24>> Stop.
39:25>> Okay. Tell us all what page are we at?
39:27You say it. Uh
39:28>> the number.
39:30>> 276.
39:31>> Open yours to 276. That's what you want.
39:34That's what you get. No. Don, come back.
39:35Come back. We need you. You're going to
39:36pick something, too.
39:37>> Okay.
39:37>> Oh, it's short. Oh, Dom, you might have
39:39gone too strong. This kid goes hard in
39:41the paint. All right. I don't want You
39:42know what he's going to pick for you.
39:44>> Here's what I want you to do. Yell out.
39:46>> Stop.
39:46>> Stop.
39:47>> Look at that page. Tell her what number
39:48it is.
39:49>> Tell her out right now.
39:50>> Out loud.
39:50>> 300.
39:51>> You want 300 301? Good.
39:53>> You go to either 300 301.
39:56>> 300 301.
39:57>> Not enough pages.
39:58>> Not enough pages.
39:58>> Damn it. Be a little more premature.
40:00I'll be okay.
40:05>> 182.
40:06>> Okay,
40:06>> so everything is working according to
40:08plan. What? What is working according to
40:11plan? What value could O have possibly
40:13gotten from having a false start like
40:15that? The reason is is because remember
40:18when O told them to say stop, he then
40:21gave them the option of choosing either
40:23page. Now that is not going to work in
40:26what you're about to see. Why? because O
40:28only has one page and the first word on
40:31only one of those pages stored in his
40:33mind. And so he does the false start to
40:36lull you and to sort of place false
40:38memories in your mind that you had the
40:40opportunity of choosing either page. But
40:42now he's going to go into the trick a
40:44second time where now Mark is not going
40:46to get the chance to choose either page.
40:48O is just going to immediately tell him
40:50exactly what page to read out. And
40:52what's more is how does O's force Mark
40:56to choose the page that he wants him to
40:57choose? Remember, he's got the number of
40:59the page and the first word already
41:01stored in his mind. He was already able
41:02to look that up before they started
41:04recording the podcast. Well, look at
41:05Oz's finger right now. Right here, Oz is
41:08using another slide of hand move, which
41:09remember as again when I told you that a
41:11magician is going to tell you to say
41:13stop, um it's because they're about to
41:15use some slide of hand. In this case, O
41:16is going to force Mark to make the
41:19choice that he wants. And so his left
41:21hand finger unfortunately just gets a a
41:22bad camera view here. Uh his left hand
41:24finger is stuck here in the page that he
41:26wants. And you're going to see I'll play
41:28this slowly for you.
41:30>> Stop. Okay.
41:31>> He says stop and immediately opens to
41:33where his index finger was tucked in
41:35there. Uh next thing is he's just got to
41:37make sure that Mark reads the page
41:38number that he wants.
41:39>> Tell us what page.
41:40>> 138.
41:41>> Open it up. It's short. Oh, dumb. You
41:43might have gone too strong. This kid
41:45goes hard in the paint. She get that
41:46many pages. Go again. Go again. You'll
41:48stop.
41:48>> Stop.
41:49>> Okay. 156.
41:52>> Notice that in this variation, O doesn't
41:54have his finger in the book, so he's not
41:55forcing the kid to stop on a particular
41:57page. But look at how he deals with
41:58that.
41:59>> 156. Open it up.
42:01>> He just turns the book away from the kid
42:03and says whatever page number he needs
42:04to. Brilliant.
42:06>> Would you have that much? How short is
42:07guy's book?
42:08>> Yes, we have. Yes, we do.
42:10>> Bring close to you.
42:10>> And even that, even sort of making the
42:12joke, how short is this guy's book? All
42:13of that really counts for something
42:15because again it just drives those
42:16inferences in our mind that O has no
42:19idea sort of how many pages are in this
42:21guy's book. He's really unfamiliar with
42:22what's going on even though he is super
42:25familiar with what's going on. Look at
42:27the first word on the page. If it's and
42:30she he the if. If it's any of those five
42:32words we do a different one. Did you
42:33look at the first word? Even that that
42:35kind of you know can you just like we're
42:36going to do a different word if it's not
42:38any of these again creates that
42:39impression that he has no idea what the
42:41word is that he is not in control when
42:43he is 100% in control.
42:45>> Yeah. Close it.
42:47Okay.
42:54>> Now Andrew
42:55>> it's important to think now at this
42:56point O has set up everything that he
42:58needs to do. Andrew has his word and
43:00Mark and uh Alex have their words at
43:03this point. Now O can lean into the
43:05mentalism stuff uh to create the
43:07impression that he's now gonna figure
43:08out these words. So the words are
43:10Manhattan for Mark and Alex and the word
43:14for uh Andrew is tourists. Those are the
43:17two words O already knows them. Uh you
43:20know Manhattan he was able to see using
43:22slide of hand in the trick that we just
43:23saw. And in this immediate one, um, this
43:26is the one that Oz has been able to look
43:27up before the show.
43:28>> Drew was going through his head thinking
43:30how how could this be, right? I mean,
43:34>> sure. [laughter]
43:37Just
43:40>> I want you each to do this. Imagine is
43:43your word something you could draw?
43:47>> Don't say anything. That's a no. That's
43:49a no. Because some
43:50>> that's powerful. So, because he knows
43:51the word is Manhattan, he'll ask him the
43:53question of something that you can draw.
43:54Um, and then by confidently kind of
43:56saying that he knows what the answer is,
43:58which is a little bit confusing because
43:59I think you kind of can draw Manhattan,
44:01right? If you're autistic and you've got
44:02a big enough piece of paper. Um, but,
44:04uh, it's just powerful because it it
44:06really sets him up to look like he
44:07absolutely knows what he's doing.
44:09>> I do. If it's an object, they'll do it.
44:11>> Yeah.
44:12>> If it's like a concept, it's different.
44:15If I had you describe this word without
44:18saying the word like let's say the word
44:20was flagrant. Remember the first thing I
44:21said to you conspicuously offensive
44:23eightletter word. I want you to think of
44:26how you would describe this person.
44:28Would it be more visual? Would it be
44:30more of like a concept? Would it be more
44:33h?
44:35This is clever. This is him lulling them
44:37into a false sense of security. When he
44:39says the word person, he knows full well
44:41that it's not a person.
44:43What was that book? A roar in Harlem.
44:47>> I'm getting it from you. I think I know
44:48it from you. Can I ask you a question?
44:50>> Sure.
44:52>> I'm scared. I'm [laughter]
44:54>> going
44:56breathing start your lips. Your lips.
44:58He's He's been doing this,
45:00>> right? Says word starts with an M,
45:03doesn't it?
45:03>> Holy [ __ ] [laughter] This is crazy.
45:05This
45:05>> So, you can see what's what's cool about
45:07uh what O has the opportunity to do now
45:09is because he knows the word is
45:11Manhattan. really what you think what
45:13everyone thinks is him reading their
45:14body language trying to get to the word
45:16is actually the opposite. It's in the
45:18reverse direction of what's actually
45:19happening. He knows that the word is
45:20Manhattan and now he's simply observing
45:23for things that he can maybe sort of fit
45:24into a narrative of, you know, working
45:27out the word. And so, you know, people's
45:29lips are pressed together all the time,
45:30but it's still a brilliant move for O to
45:32lean into M for Manhattan.
45:34>> And then we're in it's Harlem. We're in
45:37Manhattan. Is the word Manhattan, boys?
45:39>> It is Manhattan. [laughter]
45:42That's crazy.
45:44>> What the [ __ ]
45:48>> Any two books. Any two books. Look this
45:50way at me and yours.
45:51>> And this is arguably this is the value
45:53of metadception is seeing Alex react the
45:56way that he is. Mentalism hits you
45:58harder because of that metad layer. It
46:01just makes it seem so much more real
46:02because you're being deceived in ways
46:04that you weren't even expecting. So this
46:06doesn't this is a slide of hand trick
46:07and it doesn't look like slide of hand
46:09at all. And that's what makes it so
46:10powerful.
46:11>> Do you see how Kotti when I said the
46:13instructions
46:14to Sam? She did this. Do you see that
46:17little shoulder shrug? Look at this.
46:18Looks like she got cold.
46:19>> Yeah. Yeah. Yeah. Yeah.
46:20>> She goes, "Oh, what do I do?" She got
46:21confused right there because when I
46:23said, "Don't do a short word." You go,
46:24"What do I do?" Your word's short, isn't
46:26it? Yeah. Cuz you know what to do.
46:27Should I change my word right now? Mix
46:29up the letters in your word and just
46:31grab any one of those letters out in
46:34your brain. You got it?
46:35>> Yeah.
46:37>> We read from left to right.
46:39Did you think of the last letter of your
46:41word?
46:42>> Yeah.
46:43>> W. Is it a W? Now is the word now.
46:49>> How can he do this?
46:51>> Any book. He picked a page. Wait, you
46:53change your mind in the middle. What
46:54word did you pick?
46:54>> WEATHER.
46:55>> WEATHER. [screaming]
46:56>> HE CONTROLS IT.
46:57>> NO. NO, SIR.
47:00>> And you know what I FEEL LIKE DOING? I
47:01FEEL
47:01>> WOW.
47:02>> LIKE WE NEED TO JUST MAKE IT RAIN. Make
47:04it rain. And you KNOW WHAT THEY CALL?
47:05>> LEGAL TENDER. TENDERING. IS it
47:07tendering? TENDERING. WHAT KIND OF WORD
47:09IS TENDERING?
47:11>> THE first letter.
47:12>> Yeah.
47:12>> Keep going all the way till you get to
47:14the last letter.
47:15>> Okay,
47:17>> that's that. So, so this is this. You
47:18always ask me how does it work? Always
47:20the last letter is helpful with a lot of
47:22words because a lot of words have the
47:23same last letter. They always do
47:28plurals, right? The air hissing, the
47:30little the way you did that. Last letter
47:31is an S, isn't it? There's more than one
47:33of this.
47:37Looks about the CIA.
47:39Something to do with food. Something to
47:41do with food. Hold on. Don't look. I'm
47:43going with this.
47:44>> So again, Oz is leaning into this sort
47:45of lead them into a false sense of uh
47:48security. Um obviously tourist has
47:50nothing to do with food.
47:52>> I would have thought a cooking book.
47:54I'm done. I wrote it. Open your eyes. Oh
47:58no. Look at us.
47:59>> Hold on. Hold on. Let me just
48:00>> You forgot the word. [laughter]
48:02No. No. Oh, I got it. I got it. Yeah.
48:03Yeah, I got it.
48:04>> It's just had the effect of making
48:06Andrew doubt that he's read the word
48:08correctly, which is amazing.
48:11>> It's not a package food item, is it?
48:12Tell us what's the word.
48:15>> Tourists.
48:18Tourists, everybody. Yeah. Yeah. Tourist
48:20is what I wrote down. [laughter]
48:26>> Rock.
48:26>> Yo, that's crazy.
48:29>> That's really good. That's crazy.
48:33>> So, let's think about where we are right
48:34now. Os just finished a two-part trick.
48:37He's executed the slide of hand
48:38perfectly. He's maintained the
48:40metadaptive context. He's got Alex
48:43thinking it's all about body language.
48:46Andrew, however, there's a storm
48:49brewing.
48:55>> That's crazy.
48:56>> That's really good.
48:57>> That's crazy. Those
49:01who are simply listening, uh, Andrew is
49:03melting down. He may bring back the Kim
49:05Jong-un haircut after the [laughter]
49:10>> protest. That's really good.
49:12>> How do I do this with my girl when we
49:14ask what we're going to eat tonight?
49:17>> In your show, I imagine there is a a
49:19bunch of different things happening.
49:21You're doing all different types of
49:22effects and magic and illusions, right?
49:25So there's like cold reading and and you
49:27know stage you know effects and things
49:29like that. I'm curious is there any like
49:30straight up gimmicks or trickery that
49:32exist in like the stage production?
49:34>> Not really for me. I like to be
49:36bulletproof. I can show up to your house
49:38with nothing with like I I've literally
49:40done it. I'm in a bathing suit. It's a
49:42Fourth of July party and I'm like you
49:44got a phone, you got books, you got
49:45this, you got that. Give me a Sharpie. I
49:46write something on someone's hand. Like
49:47I've tried to get to the MacGyver stage
49:50of what do you got? I got bubble gum.
49:52It's interesting because he he kind of
49:53doesn't really answer Mark's question. I
49:55mean Mark's question as I heard it was,
49:57you know, he's aware that Oz is doing
49:59cold reading, which actually, funnily
50:01enough, O does very little cold reading.
50:03Um, it mostly does just rely on things
50:06like slide of hand and gimmicks. Uh, O
50:09is engaging in metad when he says that
50:11he doesn't use any gimmicks and it's all
50:12about household everyday items like
50:14books and phones. That's true. Uh, like
50:16we just saw him do two fantastic tricks
50:19with uh books. Uh but of course that
50:21does rely on slight of hand uh which I
50:24think would fall under the umbrella of
50:25trickery. And so yeah, it's a there's
50:29there's further metad um going on by O
50:32here. And it's just it's so hard to
50:33catch because this really doesn't look
50:35like a guy who is currently in the act,
50:37right? This looks like someone, you
50:40know, in many ways Mark has asked him a
50:41meta question. He's now asking him about
50:43the show, about the stage, what goes on,
50:46is there any trickery? Are there any
50:48gimmicks? Uh, and O's just he's not
50:50gonna be brought out of the performance
50:51with a question like that.
50:53>> I got a hair clip and I got this. Bam. I
50:55got an hour show.
50:56>> I gota stop.
50:56>> Mentalism is is no props are required.
51:00Magic. You still need the cards.
51:01>> Random. Random. Random.
51:03>> Give me this. Even though I love cards,
51:04don't get me wrong. I want to I want to
51:06>> Can we do some fun?
51:07>> Let's do something. Are we ready?
51:08>> Yeah.
51:09>> Let's do something. So,
51:10>> who's good with cards?
51:11>> How did What the
51:12>> Hold on. With the books. How did
51:15>> So, you guys just chose the books?
51:17>> I need to be clear. I said to them to go
51:18buy books.
51:20>> Yeah.
51:21>> Chose the books at random. He wanted to
51:23go to Barnes & Noble first.
51:24>> I told him go buy books. I don't know
51:25what books he brought. These are not
51:26>> When Oes the words I have to be clear,
51:29you can be absolutely certain that his
51:31goal is to muddy the waters of your
51:33mind.
51:34>> I got to be like 100% clear. I said go
51:36get any books.
51:37>> And you don't even get to look at the
51:38books or anything like that.
51:39>> I told him to buy new ones from Barnes &
51:41Noble. So, as I said, there has been a
51:43storm brewing in Andrew's mind, and he
51:45is about to drag O and everyone else on
51:48the show, the producers into this storm
51:50as he clamors trying to get back to the
51:52world where things make sense. This
51:54conversation is super interesting to
51:56watch. You're going to see O trying to
51:57hold the metad frame. You're going to
51:59see other hosts sort of reveal how their
52:02memory has been slightly distorted by
52:04all the tricks that and all the traps
52:06that O has laid as he's done these
52:08tricks. It's super fascinating to watch.
52:09Let's see if Andrew can get there. I'll
52:12go to someone's house and say go
52:13upstairs get any book you want. That's
52:15of course
52:15>> and you don't get to sit with the book
52:17138 and then went to your 138. So how
52:19would he have controlled that?
52:20>> He can't know the whole book.
52:23>> I mean whatever.
52:25>> Super impressive for Andrew to just ask
52:27that simple question. You don't get to
52:29sit with the book. So the misdirection
52:31that O is hoping for these books being
52:33brand new that he's never you know
52:34there's no possibility that he's had any
52:36sort of extensive familiarity with them.
52:38That's not working on Andrew. Andrew
52:40knows that he only needs a small amount
52:41of time.
52:42>> Okay. Yeah, that's crazy. He's reading
52:45in the moment.
52:46>> If I try to be like still and not give
52:49you anything, is that going to make your
52:51job harder?
52:52>> No, because all it's to make you an
52:54adventure, [laughter]
52:55>> [ __ ] Hey, [ __ ] [ __ ]
53:00>> I We'll get to the bottom of it. Like,
53:01I'll you'll do that.
53:03>> So, you have no time with the books?
53:04Like, if you have time with the books, I
53:05could probably reverse engineer how that
53:07happened. But if you have no time at the
53:08books, then it's like
53:09>> time at the books.
53:10>> I know. I know.
53:12>> Did you catch that? For the first time,
53:14O has actually directly answered
53:16Andrew's question. He looks him in the
53:18eyes and he whispers, almost whispers,
53:20no time with the books.
53:23>> Now, he whispers so no one else can
53:24hear. And that's important because Oza's
53:26strategy is to redirect that kind of
53:29question into I told them to buy books.
53:31These books aren't even available.
53:33That's the redirection he's trying to
53:35use. and it's just not working on
53:36Andrew. Andrew is continuing to ask
53:39this, "Did you have time with the
53:40books?" question. So, has got to answer
53:41it directly, but he's got to lower his
53:43voice so that it doesn't trigger anyone
53:45else. Because the risk of Andrew asking
53:47these questions is that someone else who
53:50has seen perhaps that O has spent 10, 20
53:53seconds with the books before, didn't
53:55think it was suspicious, then might now
53:57think it's suspicious because Andrew
53:59isn't just letting up on it.
54:01>> I know. I know. [laughter]
54:03>> Oh, I can figure it out.
54:04I I like how Mark just looked to see if
54:07every word in the whole book is
54:08Manhattan. HE'S LIKE, "NO, I GOT IT. I
54:10GOT IT." OH,
54:11>> WELL, THIS IS THIS IS OKAY. THIS is my
54:13like [ __ ] dumbass brain that is
54:15always trying to deconstruct, but I
54:16would just be like, "Okay, so annoying."
54:18You've you've looked at both the books.
54:20You uh what page you chose? The page
54:23that I had on here.
54:24>> I didn't choose the page.
54:25>> By the way, do you notice Andrew's
54:26self-deprecation there when he says,
54:28"This is my dumbass brain." That's
54:30clever. That's very charismatic by
54:31Andrew to do that given that what he's
54:33doing is sort of taboo. Just, you know,
54:35pull apart a trick right after it's
54:37happened. He knows that's taboo. And so
54:39he's he's dancing a fine line here.
54:41>> Did you not choose a page?
54:42>> No, I didn't choose that page. Somebody
54:43else chose the page after stop. I said
54:46stop.
54:46>> So wherever we stopped on that page, he
54:48just told you
54:49>> to be clear. And then the second time
54:50you
54:50>> said to me, can I pick either page?
54:52>> That's your words. There are two pages.
54:54Are they the same word on both pages?
54:56>> Okay. So now that's O explicitly trying
54:59to do what he did before implicitly by
55:02having the false start. You remember how
55:03he goes to to the book and it's it's too
55:05many pages and then he gives Mark the
55:07option. You choose which page do you
55:09want to do?
55:10>> Stop. Tell us what page we're on. Either
55:11side. Either direction you want. Tell us
55:13which page.
55:13>> 355.
55:15>> Go to 355.
55:16>> Uh you have more pages.
55:18>> We don't have 355.
55:19>> And then the second time when he forces
55:20where his finger is in the book, he
55:22doesn't give Mark that choice. He just
55:23tells him page 138.
55:25>> Stop. Okay, tell us what page
55:27>> 138.
55:28>> Open it up. Do you have that much? How
55:30short is this guy's book?
55:31>> Yes, we have. Yes, we do.
55:32>> Bring it close to you.
55:34>> That's designed so that you implicitly
55:36have a false memory about what's
55:37happening. And now O's is actually
55:39trying to literally bring that memory
55:41now out explicitly.
55:43>> And to be clear, then the second time,
55:46can I pick either page?
55:47>> That's your words.
55:48>> So, we would call this gaslighting, but
55:50obviously it's all part of this
55:51metadaptive performance. But the second
55:54time you stopped. So there was
55:56>> What is he doing?
55:57>> I know, right?
55:58>> Keep going.
55:58>> Go, go, go.
55:59>> Can I just get there? Can I just get
56:01there? Okay, so the second time you
56:02stopped, the first time there wasn't
56:03enough pages. The second time you
56:05stopped, the word on your page was you
56:07guessed. You just guessed.
56:08>> No, I thought you guys opened it
56:09somewhere in the middle and looked at a
56:10book that was totally separate.
56:12>> Ah, so you started that one and then the
56:14next time you went through, we looked on
56:15my page. Yep.
56:16>> Right. So maybe there's a version where
56:18you could you already knew what the word
56:19on 138 was here and you force Mark to
56:22stop at page 138 because you're so good.
56:24>> I don't know.
56:25>> That's what I would do if I was a
56:26magician.
56:26>> That's what I would
56:27>> I mean bravo to Andrew, right? Like he's
56:30basically revealed that he's figured out
56:31he's figured out the trick. Uh that's
56:34it's well played,
56:35>> too. But pick a new page.
56:37>> That's why you're not a magician. [ __ ]
56:38Yeah. Yeah.
56:39>> I'm a big skeptic. But that book's not
56:41even out. You can pre-order it on
56:42Amazon.
56:43>> Wait, which one?
56:43>> Booonte gave that to us and dropped it
56:45off. It's at the studio for like a month
56:47>> and he doesn't even look at the [ __ ]
56:49book. That's unbelievable. That is Alex.
56:53What are we messing around?
56:54>> I mean, that's pretty interesting, isn't
56:56it? Because Andrew has like he's made it
56:58clear he's not being fooled by this
57:00misdirection about the fact that the
57:02books aren't available, they're brand
57:03new or whatever. You know, the producer
57:05comes in there and says that he's this
57:07big skeptic, but he's just that
57:09misdirection, that, you know,
57:10metadaptive misdirection has just
57:12completely railed his mind. Um, Andrew
57:14is being super charismatic here. But,
57:16uh, he knows what's up.
57:18>> Go out, get any book you want, anywhere
57:21in this place. Flip to any page and look
57:24at any word. I don't want the first
57:25word. I want any word. Go.
57:29[laughter]
57:33>> Okay, think about what's just happened
57:35here. Andrew has brought all of this
57:37shade. He's brought all of this
57:38skepticism. He's basically revealed that
57:41he's figured out the trick. and now owes
57:44what was before this super clean
57:46performance, right? He nails the slide
57:47of hand moves, everything. Now he's got
57:50a real problem on his hands. And so he
57:52just drops the bomb. He just asks Alex
57:55to do something. I mean, he looks like
57:57he's setting up a trick that's just
57:58downright impossible. Now Alex goes to a
58:00random bookshelf, a random book, a
58:03random page, choose any word on that
58:05page. How the heck can Oz use slide of
58:07hand? How can he use any kind of
58:09pre-show? What what does the
58:10metadception do to like help him here?
58:13It seems like he's basically just
58:15setting himself up for an impossible
58:16trick. So that's why you see Andrew's
58:18reaction.
58:21[laughter]
58:25>> Andrew's just like he's just totally
58:27stoked. Like he's like, "Wow, if you can
58:28do that, if you can do that, then you've
58:31got it made." The only problem is is
58:33that O's can't do that. There's no, you
58:35know, mentalism is all a misdirection,
58:38right? That's meta mentalism itself is
58:40metadception. And so Oz is going to have
58:42to use some kind of magic trick, some
58:45sort of method uh to get this word uh
58:48from Alex.
58:50>> A little assistant.
58:51>> Read a little something.
58:52>> Go get some read a little something.
58:54[laughter]
58:54>> Do something with your life.
58:55>> Yo, Mark is so tight that you're not
58:57making him the assistant.
58:58>> All right. This participant
59:00[laughter]
59:03want him out of here.
59:06THE BLACK MAGIC ASSISTANT JUST runs
59:07[laughter] away every trick.
59:08>> Are you going to do Are you going to do
59:10Are you going to do card or
59:12>> Okay, this moment is really interesting
59:15and I might replay it just because
59:16psychologically
59:18look at what is happening to Andrew. He
59:21has basically, you know, just for the
59:23last two, three minutes just explicitly
59:25involved himself in a taboo of breaking
59:27down a magic trick right after it's
59:30happened. Now, does the whole metad
59:34justify that? Maybe it does, right?
59:37Maybe it does, maybe it doesn't. Um, but
59:39in this case, in this case, Andrew is
59:42now being hit with his conscience where
59:45he's thinking, "What have I done?" You
59:47know, this is a performer and I've just
59:49derailed him and look at what happens.
59:52>> Back for that, though. We need back for
59:53the cards cuz it's four people. It's a
59:55>> I'm sorry if I'm being cynical. Is there
59:56not a part in in all of you that like is
59:58trying to deconstruct understand this is
1:00:00just
1:00:01>> I don't want to seem like a hater at
1:00:02all. I'm trying to make sense of
1:00:04something that is truly unbelievable. So
1:00:06I I hope you all feel like I don't
1:00:08appreciate what you've done.
1:00:09>> No, you're showing a lot.
1:00:10>> I think that's super well said uh by
1:00:12Andrew. Like trying to figure out a
1:00:14magic trick and talking about how
1:00:16deception, you know, sort of untangling
1:00:18uh these sort of webs of of deception.
1:00:21Um, it's in many ways it's a compliment
1:00:24to the magician. It's a compliment that
1:00:27you've you you know you've gripped our
1:00:29attention so much that we're now
1:00:32devoting time to thinking about how
1:00:34you've exploited our assumptions. I
1:00:35think it's a beautiful thing.
1:00:38>> Oh, come on now. He's going to think I
1:00:40saw it chat cheated the glasses. No,
1:00:42that was unbelievable.
1:00:43>> Here go.
1:00:45>> The book's not out. The book is not
1:00:47Wait, wait. [laughter] It's not out.
1:00:48IT'S NOT AVAILABLE. ALL RIGHT, Andrew is
1:00:50acting now. Andrew has has let go of
1:00:54what he's noticed before and now you're
1:00:56actually seeing how talented of a
1:00:58performer Andrew Schultz is. He now
1:01:00realizes that he can fully lean into the
1:01:02fact that the book isn't out. He can let
1:01:04go of what he really cared about which
1:01:06was finding out whether O had any time
1:01:08with the books.
1:01:09>> How do you find and pick a word?
1:01:12>> I don't know. Like pick a word like
1:01:14somewhere in there. Interesting. You
1:01:16know what? Don't even let me say
1:01:17interesting because now that that leads
1:01:18the witness. Open any page you want.
1:01:20Remember what page number you picked.
1:01:23>> And what if I did that already?
1:01:24>> Oh, you already did all that?
1:01:25>> Yeah. Yeah.
1:01:25>> Oh, beautiful. [laughter]
1:01:27Leave the book outside,
1:01:29>> [ __ ]
1:01:32>> Just threw that book. [laughter]
1:01:37>> Look at his face. Get this on camera.
1:01:40[laughter]
1:01:41Small walk out.
1:01:43>> The Botox is helping. [laughter]
1:01:45>> You can't believe that. Right.
1:01:47>> That was unbelievable.
1:01:49>> The books The book's not available.
1:01:51[laughter]
1:01:52>> It's not available. Like I
1:01:54>> Great acting by Andrew.
1:01:55>> It would be different if you picked like
1:01:56Huckleberry Finn. I I But it's not
1:01:58available.
1:01:59>> There's no way you can get the book. He
1:02:01also called out the number, the page
1:02:03number. So, how could he have known 138?
1:02:06>> Okay, we're about to see my favorite
1:02:08part of this whole discussion because
1:02:09there's so many layers going on here.
1:02:11Andrew has resigned himself from pushing
1:02:14the issue of did O's have any time with
1:02:16the books and now he's leaning into the
1:02:18meta misdirection of the fact that the
1:02:20books are brand new that they're not
1:02:21available yada yada yada but Akash comes
1:02:24back with a logical question that Andrew
1:02:26already has the answer for. You know
1:02:28Akash says how does he know what word is
1:02:31on page 138? Andrew knows that that's
1:02:33fully answered by the fact that O just
1:02:36needed to have a little bit of time with
1:02:37the books. But does he bite? Does he try
1:02:40to engage with a accasha's logic? Watch
1:02:43what happens.
1:02:44>> So, how could he have known 138? Alex's
1:02:47not gonna be able to keep this posture.
1:02:48So, let's get through this. I can't
1:02:50remember the word.
1:02:51>> It's just beautiful. It's just like
1:02:53Andrew is a magician in his own right.
1:02:55He misdirects your he sorry, he
1:02:58redirects Akash's, you know, reopening
1:03:00of the debate straight back into all
1:03:03right, hey, Alex isn't going to be able
1:03:05to hold this position. Let's move on.
1:03:06Let's get on with the show. I'm gonna
1:03:08let I'm letting go of the skepticism.
1:03:09But also but also Andrew is intrigued
1:03:13because O has just offered him the
1:03:15impossible, right? He's just said any
1:03:18book, any page, any word. And Andrew
1:03:21knows that there's no possibility that O
1:03:24is, you know, going to have spent time
1:03:26with every single book in their in their
1:03:27bookshelf. So he's super intrigued to
1:03:29see what O can do. But now think about
1:03:31things from Oz's perspective. He can't
1:03:34just ask Alex to write, you know, the
1:03:36word down in a notepad. That's going to
1:03:38be super obvious. And he's got Andrew
1:03:40hot on his tail. And even though Andrew
1:03:42has made the decision, I believe, to no
1:03:44longer sort of push the skepticism, O
1:03:47doesn't know that. And so, the last
1:03:48thing O wants to do is to ask Alex to
1:03:51use a gimmicked notepad or even to sort
1:03:53of, you know, take Alex out of the room
1:03:55right now and ask him to use the
1:03:56gimmicked notepad. O needs time to think
1:03:58about how is he going to get Alex to use
1:04:00the gimmicks notepad in a way that
1:04:02Andrew isn't going to find overly
1:04:04suspicious. He's got to think of another
1:04:06metad so that he can get Alex to use
1:04:09that notepad. He just needs time.
1:04:12>> No, no. We're going to let this
1:04:13marinade. We're going to let this
1:04:15marinade.
1:04:16>> I got to do this the whole [ __ ]
1:04:17episode. [laughter]
1:04:18>> He's still flexing the whole time.
1:04:20>> All right. That is unbelievable. So now
1:04:22Oz is going to go into another sequence
1:04:24of tricks, but he's got this question in
1:04:26the back of his mind about how he can
1:04:28get Alex to use the gimmicked notepad in
1:04:31a way that isn't going to rouse Andrew's
1:04:32suspicion. And can you just imagine like
1:04:35already we've seen how high level Oz is
1:04:37performing and metadaptive abilities
1:04:39are, but now he's got to perform a trick
1:04:42whilst trying to create another trick at
1:04:44the same time in the back of his mind.
1:04:46That's insane. But some might say it's
1:04:48not as insane as what O is about to do
1:04:50next. This next trick is in the category
1:04:52of tricks that has some people
1:04:54questioning whether O genuinely has
1:04:56supernatural abilities. Now, even though
1:04:58Oz is clear that he doesn't have psychic
1:05:00powers or supernatural abilities of any
1:05:02kind, he's also pretty clear that he
1:05:04doesn't do magic tricks anymore and that
1:05:06he's ultimately trying to demonstrate a
1:05:07skill, mentalism, that he spent the last
1:05:1030 or so years perfecting. I I I just I
1:05:13think that magic, while I love it,
1:05:15creates a puzzle. And I'm not trying to
1:05:18create a puzzle that's trying to be
1:05:20figured out. I'm rather trying to show a
1:05:22skill that can be displayed and that a
1:05:24lot of people give me the highest
1:05:25compliment ever. They'll say, "I don't
1:05:27like magic, but man, I love what you
1:05:28do." And that's you don't realize kind
1:05:30of a backhanded compliment because
1:05:32mentalism is a subset of magic. But when
1:05:34you see a magician and there's tricks,
1:05:37right? There's card tricks or there's a
1:05:39box and somebody puts swords in it. The
1:05:41question in the backyard is always if I
1:05:43had that box or if I had the deck of
1:05:45cards, could I do that trick, too? And
1:05:47so where that separates with what I do
1:05:49is there is no thing to point at. I am
1:05:53the performance. So what you're seeing
1:05:55is a skill that I've learned and
1:05:57developed as opposed to a prop that is
1:05:59helping me.
1:06:00>> Now Oz is obviously operating in that
1:06:02metadaptive layer. So that means that
1:06:04you can't trust anything he says at any
1:06:06time and in any context. But that just
1:06:08has some people thinking that his
1:06:10professional job title as mentalist is
1:06:12really just a cover story for the fact
1:06:14that he's using black magic. Now, I can
1:06:16tell you that this trick that we're
1:06:18about to see uh doesn't involve any
1:06:20black magic. Oz is going to have a
1:06:22randomly chosen dollar bill, and the
1:06:25serial number of that bill is going to
1:06:27line up with a randomly shuffled deck of
1:06:29cards, but more importantly, it's going
1:06:32to line up with the phone number of a
1:06:33phone contact that Andrew is going to
1:06:35randomly choose from his phone. Now,
1:06:37that should sound absolutely impossible,
1:06:39but Oz is going to get it done using
1:06:40some really clever misdirection, as well
1:06:42as using two new techniques from
1:06:44Metadception that are both going to
1:06:46really help open your eyes as to how Oz
1:06:48is able to do things that seem so
1:06:50unbelievable yet believable at the same
1:06:52time.
1:06:59>> Okay.
1:06:59>> Who wants in?
1:07:00>> Yeah, I I want Mark in. He really's a
1:07:04magician. Shuffle us up.
1:07:06>> Check them. Check them out. Are those Is
1:07:08that
1:07:08>> The book's not available. [laughter]
1:07:10>> It's not It's not available. I don't
1:07:12>> I get the feeling that Andrew is trying
1:07:14to atone for his guilty conscience for
1:07:17being super skeptical towards O with the
1:07:19first trick. Uh you're fine, Andrew.
1:07:21You're fine.
1:07:22>> That's the thing.
1:07:22>> Shuffle, dude. Do shuffle. Make sure.
1:07:24Are they Are they in some sort of order?
1:07:25Are they mixed up? Like
1:07:26>> remove the jokers or is this
1:07:27>> I don't care, man. Leave the jokers.
1:07:28Whatever you want. Take take the jokers
1:07:30out. Throw them away.
1:07:32>> Damn Mark, you are killing that.
1:07:34>> So, this is great. You know, he can hand
1:07:35the cards to Mark and just ask Mark to
1:07:37shuffle them. And that was a fair
1:07:38shuffle. And Mark's going to mix them up
1:07:40even more. Look at Oz's body language
1:07:42here. He's got his hands up. You want to
1:07:44milk this as much as you can. If your
1:07:45trick doesn't matter, you know, it
1:07:47doesn't have any effect. It isn't
1:07:49affected by someone mixing up the cards,
1:07:51then milk it. You know, really let
1:07:53everyone know. Now, it doesn't matter to
1:07:54O. All O cares about is to get to a
1:07:57particular frame. And yes, frame. He's
1:08:00specifically thinking about how you will
1:08:02be perceiving the trick. He wants to get
1:08:04to a certain camera shot. And that
1:08:06camera shot is about two minutes later
1:08:09after all this halaloo of Mark mixing up
1:08:11the cards and people coming in and
1:08:13taking their little piles off. All O is
1:08:16interested in is having right here
1:08:19>> over next to on the side.
1:08:20>> On this side.
1:08:21>> Sure. Fair.
1:08:22>> That right there three piles of cards on
1:08:26the table. O wants this because he is
1:08:29about to use our first new metadaptive
1:08:32technique. That technique is the
1:08:35camera edit.
1:08:38O is planning on doing a deck switch.
1:08:41But now you might think that, oh no, it
1:08:43can't be a camera edit. You know, that
1:08:44means the producers are colluding. You
1:08:46think everyone's colluding with O. It's
1:08:48very normal for guests to come on the
1:08:50show and have a contract that gives them
1:08:52uh some sort of editing rights over what
1:08:55actually gets produced or some sort of
1:08:57say if they want something removed. So O
1:08:59is likely, you know, in has a contract
1:09:02like that with flagrant uh and is
1:09:05planning on simply getting the deck
1:09:08switch that he is about to perform uh
1:09:10removed. It may also be the case that
1:09:12maybe the deck switch is a bit sketchy
1:09:14and if he feels like he doesn't perform
1:09:16it super well, then he can fall back on
1:09:18just simply having it edited out. Now,
1:09:20by setting up the three piles on the
1:09:22desk like this, it gives it something to
1:09:24come back to. This is a very sort of
1:09:27strong image in our mind so that O just
1:09:30really needs to kind of replicate this
1:09:32when he does the deck switch. So that
1:09:33after the camera edit, as long as we see
1:09:35three piles of cards on the table, we're
1:09:37going to remember that these were piles
1:09:39that have been mixed up completely
1:09:41fairly by Mark and that O has never
1:09:43touched.
1:09:44>> Yeah.
1:09:44>> Open it. Open it.
1:09:46>> Look at them. They should be shuffled,
1:09:47but you shuffled them, gentlemen.
1:09:48>> Why are these stuck together?
1:09:50>> Don't ask. [laughter]
1:09:51You know, it's a shame the Jews don't
1:09:53proitize because if they did, you could
1:09:54convert.
1:09:55>> You could convert me. I like I really
1:09:57Yeah.
1:09:57>> You're not that good with money, so you
1:09:59should come to our team.
1:10:00>> Yeah. I need your help.
1:10:02>> So, shuffle them up.
1:10:03>> Yeah. Look at them, though. Make sure
1:10:04these are legit.
1:10:05>> Okay.
1:10:06>> Now, normally, right now, you'd be
1:10:08thinking card trick. Card trick means
1:10:10I'm going to do some slight of hand. I'm
1:10:11not touching any.
1:10:12>> I mean, he's not wrong. He's not wrong.
1:10:14I am thinking card trick. I am thinking
1:10:16slot of hand.
1:10:18>> Right. You see this? I'm never touching
1:10:19anything. touch on my foot. But that's a
1:10:20>> that's it. That's that's him.
1:10:24>> Just like with flagrant, they are free
1:10:26to mix them up, shuffle them to their
1:10:28heart's content. All O cares about is
1:10:31getting to one particular shot.
1:10:33>> You each. Okay.
1:10:36To at the same time, you're going to
1:10:38lift off kind of somewhere near the
1:10:40middle. Lift off a piece about an inch.
1:10:42And I want you to turn it halfway like
1:10:44sideways. Like now you're put it back on
1:10:46top. Anywhere you want. That feels good.
1:10:48That feels good. That was good.
1:10:49>> Square them up and turn the other half
1:10:50at a funny angle and mark it like at a
1:10:5390° angle and put that piece on top. You
1:10:55feel me?
1:10:55>> Yep.
1:10:56>> I feel you, dog.
1:10:57>> So, like that, right?
1:10:58>> Yeah. Yeah. Yeah. Beautiful. Square it
1:11:00up a little bit.
1:11:02>> Okay.
1:11:03>> I don't care. I don't care. Whatever.
1:11:05>> All right, gentlemen.
1:11:07>> Question for you. Is that absolutely
1:11:08fair?
1:11:09>> Sure.
1:11:10>> Sure.
1:11:10>> So, that's the shot. That's the shot
1:11:12that he wants. He wants to cement in
1:11:14your mind that you've seen them shuffle
1:11:15the cards and that you've seen them now
1:11:16place them uh in front of themselves on
1:11:18the desk. But just pay attention to
1:11:20exactly how they look, exactly how they
1:11:23look, their relative positions, uh the
1:11:25tidiness of the cards, how they're
1:11:26squared up. Just pay attention to that
1:11:28and we will get right back there very
1:11:30soon.
1:11:30>> Hear me out. Think about the craziness
1:11:34of this. You shuffled the cards. You cut
1:11:37anywhere you wanted. But think about how
1:11:39crazy this is that you two even know
1:11:41each other.
1:11:42What are the odds when you go back
1:11:44history that you'd even be born, right?
1:11:45Your parents had to meet. Were you
1:11:47planned? I believe so. Maybe your dad
1:11:50>> already. Boom. There we are. Apparently,
1:11:52just 5 seconds later, and we can already
1:11:54see a distinct change uh in that deck of
1:11:58cards.
1:11:59>> Pull out game was weak. Who knows?
1:12:00>> 100%.
1:12:01>> But the fact that you were ever born
1:12:02from the day you were born,
1:12:03>> maybe he had money on everything.
1:12:05>> All right, let's compare. So, we have
1:12:07both of those there. I will edit in what
1:12:09they looked like previously. And that's
1:12:12enough at this point. You know, O's does
1:12:13a big reveal, the the cards, whatever.
1:12:15They line up with their birthday
1:12:16synchronized. Who cares? Uh the point is
1:12:19he is not afraid of using uh and setting
1:12:22up specifically for the camera edit. Not
1:12:24just using a camera edit to hide
1:12:26something that maybe accidentally
1:12:27happened, but specifically engineering
1:12:30tricks with a camera edit in mind. This
1:12:33is not how typical magicians operate.
1:12:36This is metad.
1:12:38So that's the metad there. super clever.
1:12:41Uh but so just take clear notice of how
1:12:43the piles look, you know, how how are
1:12:46the cards sort of scattered on top of
1:12:47each other? What are the relative
1:12:48distances between the cards and between
1:12:50other things on the table? And when we
1:12:52see the camera edit, you'll see that
1:12:53despite the fact that we've seen no
1:12:55footage of anyone touch the cards, the
1:12:57cards have changed position quite
1:12:59drastically. So we'll get to that.
1:13:01>> Here was that. Come on. Is there any way
1:13:02we can tell something? Nothing.
1:13:04>> So he's got to milk it as much as he
1:13:05can, right? Come on.
1:13:06>> Oh no.
1:13:07>> We got to we got to make this exciting.
1:13:08>> Okay. We need some skin in the game.
1:13:12>> You know what? Let's make this fun.
1:13:15>> Let's make it [ __ ] rainy here. How's
1:13:18that sound?
1:13:19>> All right. What do you notice about how
1:13:20the dollar bills are falling right now?
1:13:22Okay. O has two two piles of money uh or
1:13:25whatever you call them. Two bands of
1:13:26money. He's found he's thrown the first
1:13:29band quite high. And as a result, the
1:13:31radius of dispersion is quite high. Just
1:13:33notice that. And then notice how he
1:13:35throws the second pile.
1:13:36>> Wait, hold on.
1:13:41and a much smaller radius of dispersion.
1:13:44Super clever. You'll see why.
1:13:46>> I don't want to touch I don't want to
1:13:47touch any of the cards. So, take those
1:13:49bills and I don't want to touch
1:13:50anything. Throw those on the table.
1:13:52Throw those
1:13:53>> move the bills away.
1:13:54>> Just take the bills away. Just
1:13:55>> so owes ever the metam mind. He notices
1:13:57a bunch of bills have just landed on top
1:13:59of the cards and the first thing he's
1:14:00going to do is to ask Mark to take those
1:14:03bills off. Why? Because of the camera
1:14:06edit. It's going to be much harder if O
1:14:08has to do a deck switch. Uh so that Oh,
1:14:11did I tell you why he has to do the deck
1:14:12switch? By the way, like the the pile of
1:14:14cards that he's going to swap out needs
1:14:16to match with the phone number of the
1:14:18contact that Andrew is going to choose
1:14:20later. Now, we'll we'll get to the phone
1:14:23aspect right now. Andrew is not going to
1:14:24choose a contact uh right right here.
1:14:26Right now, that's another that's another
1:14:28metad that we'll talk about in a second.
1:14:30But in OE needs these dollar bills off
1:14:33these cards so that the camera edit is
1:14:35clean. You're going to notice the jump
1:14:37cut if uh or you're going to notice sort
1:14:39of the that something's been edited if
1:14:41you go, "Hey, there were dollar bills on
1:14:43top of those three cards before and now
1:14:44there aren't." O doesn't want to have to
1:14:46put dollar bills on top of three cards
1:14:48after he does the deck switch to make it
1:14:49look like this. So, very intelligently,
1:14:51he's going to ask Mark to take those
1:14:52dollar bills off.
1:14:53>> We can still see the cards.
1:14:55>> I like how Akos got lightly aroused when
1:14:57I just yeah,
1:14:59>> he's like, "We going to the club, baby.
1:15:00You going to the club?"
1:15:02>> Hindu is not supposed to disrespect
1:15:03money. This is really making me feel
1:15:04[laughter] I got to take this down.
1:15:07>> Any one of these bills. Gosh, I want you
1:15:09to or pick up anyone. Walk around. Walk
1:15:12around and pick up.
1:15:14>> That's clever by O. This is the kind of
1:15:15stuff you need to notice. This is super
1:15:17high level performance. Just look at the
1:15:18pause. O knows exactly what he is going
1:15:22to ask the cash to do, which is to get
1:15:23up and walk around and choose a bill.
1:15:25What does getting up and walking around
1:15:27have the effect of? It makes sure that
1:15:28he chooses one of those bills from that
1:15:30wider radius of dispersion, which is
1:15:32that first pile that he threw up, which
1:15:34is going to be very different to the
1:15:35second pile that he threw. And we'll
1:15:37talk about that in a second. But just
1:15:38look at how O's paws as he processes
1:15:40things or he creates the illusion that
1:15:42he's processing and then comes up with
1:15:43this idea for O to for a cash to walk
1:15:46around. So clever.
1:15:49>> Pick up anyone. Walk around. Walk
1:15:50around.
1:15:50>> So convincing
1:15:51>> and pick up any one of those bills.
1:15:53>> All right. And fold it in half. So the
1:15:55present on the inside gives
1:15:56>> that's clearly a dollar bill from that
1:15:58wider radius of dispersion pile.
1:16:00>> Nice good crease. Hold it one more time.
1:16:02Precision. Precision baby.
1:16:04>> Don't you do this.
1:16:05>> And sit on it.
1:16:06>> Don't you do this.
1:16:08>> Okay. O has oneird of the job done.
1:16:09Akash is now sitting on a $1 bill where
1:16:12the first letters and numbers of that
1:16:13serial number are going to line up with
1:16:15the initials and phone number of
1:16:17Andrew's phone contact. How O forces
1:16:19Andrew to choose the phone contact that
1:16:21he wants. Uh we will get to in just a
1:16:23second. But how does the first letters
1:16:25and numbers of that serial number line
1:16:27up with that contact? How does O's do
1:16:29that? Well, it's the first pile of money
1:16:31that he throws is what we call prop
1:16:33money or magic store money. Uh it's
1:16:36going to be money that is printed where
1:16:38all the serial numbers are going to be
1:16:40near identical or just straight out
1:16:42identical. It doesn't matter uh because
1:16:44of the second pile that owes throws is
1:16:46going to be legit or at least the serial
1:16:48numbers are going to be randomized. It
1:16:50would make sense if that was prop money
1:16:52as well because I I believe that one of
1:16:54the giveaways is that it's a slightly
1:16:55different material. It's not the linen
1:16:57that it's supposed to be. Uh but I
1:16:59haven't done a lot of research on that.
1:17:00The second pile because he throws it
1:17:02lower and which with a much smaller
1:17:04radius of dispersion, it's going to land
1:17:06on the ground in a in a more sort of um
1:17:08a dense way but just over the top of
1:17:10that first pile. And so when people are
1:17:12amazed at the end of the trick, they're
1:17:14going to naturally pick up these dollar
1:17:15bills, but they're going to pick up from
1:17:17pile two. whereas Akash was forced to
1:17:19pick from pile one with the wider radius
1:17:21of dispersion and so it covers it quite
1:17:24literally uh covers Oza's deceptive
1:17:26track. So it's super brilliant. It's a
1:17:28really creative um form of misdirection.
1:17:32I'm a big fan of when magicians don't
1:17:34verbalize the deception and they just do
1:17:36things and let you uh assume certain
1:17:39things in your mind. you know, you're
1:17:40going to think that who would think that
1:17:42O is doing anything else than just
1:17:43throwing two legitimate uh you know,
1:17:46stacks of cash in the air which are all
1:17:48going to have different serial numbers.
1:17:49So, really clever from O, but uh let's
1:17:52move on with the rest of the trick.
1:18:04You ever have this sensation? Let me ask
1:18:06you where your phone rings. Your phone
1:18:09rings and you don't you vibrate and
1:18:13you're not expecting a call from this
1:18:14person. This isn't like your wife told
1:18:15you,
1:18:16>> but you somehow know who it is. Have you
1:18:18had that distinct feeling or never?
1:18:20>> No,
1:18:21>> you have not. Is that right? You you
1:18:22said you have not had that feeling
1:18:23because I've had that before. I
1:18:24>> O makes a slight little mistakes there.
1:18:27He uh he asks Mark the question. Mark
1:18:29Mark is has not heard that question
1:18:31before. He answers it for the first
1:18:32time, but then he turns to Andrew and
1:18:34says, "You have not. You said that you
1:18:36haven't." Unfortunately, Oz is revealing
1:18:39that there has been some interaction
1:18:40with Andrew on this particular topic
1:18:42before the show. Remember, O doesn't
1:18:45want to reveal the that there was kind
1:18:47of pre-show work. That's part of this
1:18:48metadaptive tactic, which we're going to
1:18:50analyze a little further.
1:18:52>> I know who it is, but that's my job. But
1:18:54you say, "What a weird thing." Like,
1:18:56intuition, instincts. How did I know
1:18:57this person was going to call?
1:18:58>> Anytime I'm annoyed by a call, I know
1:19:00it's my wife. Like, if my phone vibrates
1:19:02and I'm like, "This is annoying. I know
1:19:03it's my wife."
1:19:04>> Maybe I had that had that feeling. I
1:19:06don't know. I don't know.
1:19:07>> I said and you said I'm going to figure
1:19:08this out and I don't mind that. And I
1:19:09said, imagine a dja vu moment where
1:19:12[laughter] you somehow get a call and
1:19:15you feel it. You didn't expect to have
1:19:16five.
1:19:17>> When O uses the words deja vu moment,
1:19:20that is a trigger word.
1:19:22>> So here's what I want you to do. Let's
1:19:23let's you know what deja vu. We're going
1:19:25to go back in time. Close your eyes for
1:19:27me. If I were to ask you to think of a
1:19:30name and writing down a name and now
1:19:31somebody walks up to you, this part
1:19:33solidifies dja vu. One person walks up.
1:19:36You know exactly who it is. Out of this
1:19:37whole group of everybody you imagine
1:19:39walks up, you get a pound. Imagine you
1:19:41pound. I know they're not shaking your
1:19:42hand. You do a pound with this person.
1:19:43You can see them in your mind. Is that
1:19:44right?
1:19:44>> Yes.
1:19:45>> Yes. And then you get a tap on the
1:19:47shoulder. You turn around. You look at
1:19:49this person and it's somebody you've met
1:19:52before. 100%.
1:19:54And they say something to you. They've
1:19:56said it to you before and you get deja
1:19:57vu and it's something impactful. It left
1:20:00an impression on you. Is that a fair
1:20:01assessment?
1:20:01>> Yeah.
1:20:02>> All right, Kiana. Here here's the here's
1:20:05the game. It's it's a deja vu. It's like
1:20:06an exercise where you walk out of here
1:20:10and this is how I want you to visualize.
1:20:12You're going to play this through in
1:20:13your head. You've done this before that
1:20:14right here in this podcast. I disappear.
1:20:17Can you imagine that?
1:20:18>> Yep.
1:20:20>> And suddenly you can interview anyone
1:20:22that's ever lived. So we're going to
1:20:23shift little dja vu dead or alive. If I
1:20:26ask you to think of this person and I
1:20:28ask you to like look into them, find an
1:20:30interesting fact. What Oz is referring
1:20:33to is, now this is the metad tactic.
1:20:36What looks like collusion is not
1:20:39collusion. What Oz is doing is he's
1:20:42simply doing magic tricks with people,
1:20:44like typical magic tricks using
1:20:45gimmicks, slide of hand, similar to what
1:20:48you just saw with the book glance
1:20:49tricks. He is doing those tricks before
1:20:52the show, but he's not completing them,
1:20:54which means that he's not giving the
1:20:55final reveal. If he was to do the book
1:20:57glance trick, he gets you to choose the
1:20:59first word on the page and then he tells
1:21:00you to just sit on it. And then when he
1:21:02goes on the podcast with you, he's going
1:21:04to say, "So, picture with me for a
1:21:07moment that I'm, you know, deja vu. I'm
1:21:09riffling through uh pages in a book. We
1:21:12stop at any page that you want. I open
1:21:14the page. You look at the first word on
1:21:16the page. Can you see that word?" He's
1:21:18using this clever double speak language
1:21:20to do what? To create a dual reality
1:21:23effect. Now, this is central to almost
1:21:26all of Oza's most successful tricks
1:21:29because it creates one reality for the
1:21:31audience who's looking at this and
1:21:32thinking, "Oh, wow. You're just giving
1:21:34you're guiding people through this
1:21:35imaginative exercise and they are coming
1:21:38up with something on the spot." He does
1:21:40this over and over again. But what's
1:21:42actually happening in reality is he's
1:21:44calling them back to an incomplete magic
1:21:47trick. All right, coming at you here
1:21:49from the editing floor. And wow, what a
1:21:51beautiful image. Let me fix that. Okay.
1:21:53So, um, dual reality is a concept that's
1:21:55going to be defined slightly differently
1:21:56by professional magicians than how I've
1:21:58just explained it to you now. And the
1:22:00reason for that is because professional
1:22:01magicians are thinking about things in
1:22:03terms of the kind of work that they need
1:22:05to do in order to pull off uh an
1:22:07illusion. And so while they would agree
1:22:08that yes, if your effect, you know,
1:22:10requires uh taking a woman aside before
1:22:12the show like O would have done here and
1:22:14asking her who's your favorite celebrity
1:22:16that you would love to have dinner with
1:22:17and then tricking her into giving you
1:22:18that name by having her write it down
1:22:20into a gimmick notepad or a fake Google
1:22:22search and then rather than revealing
1:22:24that name to her right then and there,
1:22:26uh tell her that um you just want her to
1:22:28sit on her decision and then that later
1:22:30when the cameras are rolling, you're
1:22:31going to ask her that same question and
1:22:33have her write the name um on a
1:22:35different piece of paper. And so that
1:22:37absolutely philosophically creates a
1:22:39dual reality effect because as we watch
1:22:41her, you know, write down that name on
1:22:43the piece of paper, we don't know that
1:22:44there's been anything that's happened
1:22:46before the show. And so we are going to
1:22:47naturally assume that she's coming up
1:22:49with the name right then and there and
1:22:51um, you know, writing it for the first
1:22:53time. However, her reality is distinct.
1:22:55Uh, she knows that she is just following
1:22:57through on a decision that she's made
1:22:59half an hour or an hour earlier. And so
1:23:01there's a dual reality there. Now, that
1:23:03doesn't make her a stoogge. that doesn't
1:23:04make her an accomplice or at least maybe
1:23:06not a knowing accomplice because when
1:23:08she used the the notepad or the Google
1:23:09search she had no idea that it was uh
1:23:11gimmicked or or fake and that that is
1:23:13how O was able to get the information
1:23:16but uh magicians professional magicians
1:23:18would call this a pre-show trick because
1:23:20the kind of work they have to do uh
1:23:22revolves around interacting uh with the
1:23:25uh the target before the show. They want
1:23:27to reserve the term dual reality for a
1:23:30different kind of effect or or similar
1:23:32kind of effect, sorry, but a different
1:23:33kind of work that they need to do that
1:23:35involves audience me audience members
1:23:37where there has been no pre-show where
1:23:39there's been no interaction uh with them
1:23:41at all. And yet they're still going to
1:23:43set up this same kind of dual dual
1:23:45reality end result. And so the fact that
1:23:47O has never interacted with this woman
1:23:49before allows him to uh say this,
1:23:53>> stand up. We have never spoken a word in
1:23:55our life. You do not know her. How in
1:23:58the world could this happen? Join me
1:23:59next to Martha. Come on up. Give her a
1:24:01big round of applause. Come join me.
1:24:02Hey.
1:24:04>> Okay, so everything that O just said
1:24:06just then was completely true. And she
1:24:07agreed. She's not lying or anything like
1:24:09that. However, O is going to turn her
1:24:11into um what she is currently not, which
1:24:14is a stoogge. Uh she is not currently an
1:24:16accomplice, but O is absolutely going to
1:24:18turn her into far more of an accomplice
1:24:21uh than she is here because um she's
1:24:23going to absolutely know that she is an
1:24:25accomplice. She's going to become a
1:24:26flatout con artist as O pressures her by
1:24:30using the lights and the cameras and the
1:24:32heat of the moment and the fact that
1:24:34there's an audience and he's a high
1:24:35high-profile mentalist. Um he can
1:24:37exploit that uh in the ways that you're
1:24:39going to see. So primarily he just
1:24:41utilizes the fact because he's going to
1:24:43now do how does he turn her into a
1:24:45stoogge uh while while we're all
1:24:47watching. You know you would normally
1:24:49think turning someone into a stoogge is
1:24:50something that you would have to do
1:24:51before the show. And that's why
1:24:53magicians want to just call this kind of
1:24:55trick a dual reality trick. Uh but what
1:24:57you do is you just exploit the fact that
1:24:58she can see things up here that the
1:25:00audience members can't see. And in this
1:25:02case, it's going to be what is in Oza's
1:25:04hands. And so he is going to use her to
1:25:06first confirm that uh there are there is
1:25:09no paper in his hands. And she can
1:25:12confirm that because there is a gimmick
1:25:13in his hands, but it doesn't look like a
1:25:15piece of paper. It's this kind of rolled
1:25:16up gimmick that he has to kind of unfold
1:25:18and then it looks like a piece of paper.
1:25:20And now the whole premise of the trick.
1:25:22Well, let me I'll let you just I'll let
1:25:24O describe that
1:25:25>> paper in my hands. Be honest. No,
1:25:27there's nothing in my hands. But in a
1:25:28moment, I'm going to snap my fingers.
1:25:30>> But you do notice that um you know, he
1:25:32he asks her the question, do you notice
1:25:35any paper in my hands? She says no. And
1:25:38then he turns that into, yeah, because
1:25:39there's nothing in my hands.
1:25:41Philosophically, when you're trying to
1:25:42figure out these kinds of illusions,
1:25:44it's really helpful to ask yourself the
1:25:46question, how could the magician have
1:25:47made that trick better? And so if he
1:25:49wants to um plant the idea that his
1:25:51hands are empty, how could he have done
1:25:53that in a more convincing way? Well, he
1:25:54could have just showed us that his hands
1:25:56were empty. But he doesn't do that. And
1:25:58he doesn't do that because he can't do
1:25:59that. And so that's the kind of logic
1:26:01that you can really lean into in order
1:26:03to figure out methods. A lot of people
1:26:05think, you know, O is going to talk
1:26:06about hypnosis here. Um I've had a guy
1:26:08message me who reckoned that O was using
1:26:11hypnosis and meeting with people before
1:26:12the show and all the rest of it. Um, if
1:26:14that was the case, then Oes should be
1:26:16pulling off much more impressive effects
1:26:18than he actually is. Because people who
1:26:20are super suggestible with hypnosis, you
1:26:22can you can pull off some pretty
1:26:23interesting effects that would be super
1:26:25entertaining for O to pull off, but he
1:26:26doesn't do that. And so, you can
1:26:28naturally assume that O isn't using any
1:26:30kind of hypnosis. All right, so let's
1:26:31keep going.
1:26:32>> It's going to be like you're hypnotized
1:26:34of just I don't know how to explain it,
1:26:36but you will suddenly know you will see
1:26:37a piece of paper in front of you with
1:26:39the name of the person she is thinking
1:26:40of. Are you believing any of this?
1:26:43Not really.
1:26:43>> I like Martha's [laughter] like, "It's
1:26:45my show. I don't believe it. It's the
1:26:46story." All right, here we go. Look at
1:26:48me. One more mind reading.
1:26:49>> So, it's really clever to actually say
1:26:51that um what is going to happen is
1:26:53something that allows him to actually do
1:26:55the move in a way that the audience is
1:26:58going to have a separate interpretation
1:27:00of. So everything when he like opens his
1:27:02hand and basically shows her the piece
1:27:03of paper, we're just going to think that
1:27:05he's just following through on what he
1:27:07said, which is, you know, kind of
1:27:08hypnotizing her and and making her think
1:27:10that she's seeing this piece piece of
1:27:11paper. Um, so let's watch him do the
1:27:14move
1:27:14>> of her. Just like that. Just like that.
1:27:16Franchesca, I drop this piece of paper.
1:27:18Martha, look over at Cy. Look her right
1:27:19in the eyes. And I drop it. It starts
1:27:21floating down like a feather. And I want
1:27:22you to imagine that it lands in my hand.
1:27:24And I want you to look down in my hand.
1:27:25And I want you to nod your head if
1:27:26you're playing along and you see it
1:27:28clear as day. And I want you to close
1:27:29your eyes, Francesca. I want you to put
1:27:30the hands up back.
1:27:31>> Okay, so that was pretty much everything
1:27:32that you need to see there. First, he uh
1:27:34you know uses the the gimmick. He's
1:27:36obviously his left hand has kind of been
1:27:38strange the whole time, which is very
1:27:39hard to unsee once you understand what
1:27:41he's doing. Uh and then you see as he
1:27:43comes through here, um he just kind of
1:27:46unfolds. So you see in that motion
1:27:47there, he's unfolding it. He's revealing
1:27:49the piece of paper. And then what I
1:27:50think is more interesting is the fact
1:27:52that he just blatantly asks her if she's
1:27:54playing along.
1:27:56>> Your head if you're playing along and
1:27:57you see it clear as day. And I want you
1:27:58to close your eyes, Franchesca. I want
1:28:00you to put the
1:28:00>> And so there you go. That is a that is a
1:28:02dual reality uh trick. She's now read
1:28:04the name and then it's just a matter of
1:28:06um her following through on what she's
1:28:09read on the piece of paper and revealing
1:28:11that um the name is Amy Schumer. And so
1:28:14you've actually got a pre-show and a
1:28:15dual reality, if we're going to use the
1:28:17terminology of professional magicians.
1:28:18Uh two different kinds of tricks all
1:28:20working together. Um, now this trick
1:28:23obviously works much better when you
1:28:25have a live audience and the pressure of
1:28:27a studio and all the rest of it. O does
1:28:29a similar thing with Leanne, um, Bert's
1:28:31wife, and she's very skeptical about
1:28:33magic and, um, these kind of tricks and
1:28:35mentalism and all the rest of it. And
1:28:37interestingly, O is going to use her as
1:28:40as an accomplice.
1:28:42>> It would start to float and Leanne will
1:28:44swear that she saw it like a crystal
1:28:46ball materializing and she sees a piece
1:28:47of paper and it says exactly what you're
1:28:48thinking. Are you buying any of this,
1:28:50Leanne?
1:28:50>> No. No, Leanne is about to throw holy
1:28:53water at me. It's actually appperol
1:28:54spritz. All right, Leanne, take a little
1:28:56baby step back so we can see you.
1:28:58Leanne, I take I drop this piece of
1:29:00paper. It starts floating. I hypnotize
1:29:02you. I snap my fingers. Lean, I want you
1:29:04to look down in my hand. If you're
1:29:06playing along and you see it clear as
1:29:07day, close your eyes and I want you to
1:29:09repeat this over and over in your head.
1:29:10Over and over in your head. Close your
1:29:11eyes over and over in your head. Imagine
1:29:13that you could see.
1:29:14>> Okay. So, you see how Oz was able to set
1:29:16up the effect there. He uses the same
1:29:18words. confirms that they are playing
1:29:20along and then when it comes to the
1:29:22reveal.
1:29:27>> Leanne, tell him what is he thinking?
1:29:29Third ingredient. Anything in the world,
1:29:30what's he thinking about?
1:29:31>> All spice
1:29:36[snorts]
1:29:40is [laughter] possible.
1:29:42Why don't you?
1:29:43>> Bert gives a great reaction, but uh the
1:29:46the best part is when he just asks
1:29:48Leanne for confirmation um that that was
1:29:50really her own choice. And then Leanne
1:29:53spills the beans.
1:29:54>> I was like, I'm Are you kidding me? If
1:29:58you have
1:29:59>> Applause for Leanne, everybody, it's not
1:30:00even me. Show some love.
1:30:03>> You thought of that on your own. She
1:30:05>> saw it in my hand clear as day.
1:30:07>> He wrote it on a piece of paper.
1:30:08>> Are you serious?
1:30:09>> I told you she'd be hypnotized. I told
1:30:10you she'd see it.
1:30:12You have no idea.
1:30:13>> Sort of a difficult kind of thing to
1:30:15watch to see OS try to retake control of
1:30:17that situation. You know, Bert is super
1:30:20um malleable in terms of um and
1:30:22impressionistic in terms of believing,
1:30:24you know, the falling for the whole
1:30:25mentalism metad. But the effect works
1:30:27much better when you do have a live
1:30:29studio audience where you can use the
1:30:31pressure of all of you know the crowd of
1:30:33people and the fact that the performance
1:30:34is in front of so many people, which is
1:30:36what O does here on on Ellen.
1:30:40When I snap my fingers, you're going to
1:30:41swear up and down that you see a piece
1:30:43of paper in my hand. I'm going to let it
1:30:45fall down like a feather. And Monica,
1:30:46here's what I want you to do. Look at
1:30:47me. I snap my fingers. I want you to
1:30:49imagine it falls down in my hand. Look
1:30:51down in my hand. And I want you to
1:30:52repeat over and over in your head what
1:30:53you see. And if you're playing along,
1:30:55nod your head. She's like, I don't know
1:30:57what's going on here. Close your eyes,
1:30:58Monica. And I want you to say this over
1:31:00and over in your head. Over and over,
1:31:01whatever that title is. Imagine for a
1:31:03moment, folks, that Ellen had thrown
1:31:05this piece.
1:31:05>> So that there you go. That's how the
1:31:07effect works. And I'm just going to um
1:31:09for the rest of the video when I talk
1:31:11about dual reality, I'm not going to use
1:31:13this uh you know professional magicians
1:31:14terminology and restrict you know dual
1:31:16reality to this kind of you know turning
1:31:18someone into a stoogge in the moment.
1:31:20I'm just trying to highlight the fact
1:31:21that your exper your your assumptions
1:31:24about what the reality of this woman
1:31:27here is uh need to be questioned and
1:31:29what your assumptions as to you know
1:31:30what the reality of this woman's here is
1:31:32is needs to be questioned. pretty much
1:31:35we're not mentioning we all met with
1:31:36him, you know, like he's like just it's
1:31:38like you came up with it on the air like
1:31:40he's
1:31:41>> greasing the wheels.
1:31:42>> Or maybe he doesn't even need to give a
1:31:44justification and he can just use his
1:31:46level of bravado and confidence to just
1:31:49have people comply with him
1:31:50>> and yet I was willing to come meet with
1:31:52him like everyone else had to meet with
1:31:53him and write things down and do stuff.
1:31:55So he'd been working with whatever he
1:31:57was working with for 40 minutes.
1:31:59>> In this case, he's done something like
1:32:01this with Andrew and it's all
1:32:02surrounding the phone. So now pay
1:32:05attention to the kind of words O uses
1:32:07because he's trying to sort of
1:32:09implicitly bring Andrew back to that
1:32:12moment before the show where he did the
1:32:14incomplete magic trick and he's now
1:32:16ready to complete it.
1:32:19>> And you pick somebody at random
1:32:21>> random random random
1:32:23>> and the phone's calling right now. Grab
1:32:24out your phone.
1:32:25>> Okay.
1:32:26>> Yeah.
1:32:26>> Yeah. Go to your contacts, please.
1:32:27>> Okay. Yeah. Yep.
1:32:28>> Where are you right now? At the front.
1:32:29At the top.
1:32:30>> Very top. Very top. So, I said to you to
1:32:32imagine as if you were getting a call
1:32:33from one person.
1:32:34>> Okay.
1:32:34>> Is that right?
1:32:35>> Yeah.
1:32:35>> Go to that person. Scroll through.
1:32:37>> You see the little camera edit there?
1:32:39We'll go back and watch it.
1:32:40>> If you were getting a call from one
1:32:41person.
1:32:41>> Okay.
1:32:42>> Is that right?
1:32:42>> Yeah.
1:32:43>> Go to that person.
1:32:44>> So, that camera edit,
1:32:46as I said before, O has a kind of
1:32:48authority where he can cut out parts of
1:32:50the podcast that he doesn't like, that
1:32:52he doesn't want displayed to people.
1:32:54When O uses this tactic, when he uses
1:32:56this deja vu uh metad
1:32:59sometimes, as you can imagine, because
1:33:01he's trying to tread this line of only
1:33:04trying to subtly guide people to what
1:33:07happened before without guiding the the
1:33:09audience who's watching the video or the
1:33:11podcast,
1:33:12it can get confusing for Andrew or for
1:33:15anyone else.
1:33:17>> You reach up, reach down, and you grab
1:33:20the first ingredient, and you have it
1:33:22right in your hand. Hold out your hand.
1:33:24>> Yeah. Yeah. Yes.
1:33:25>> Did I?
1:33:26>> Yes. Yeah. Hold out your hand. Hold out
1:33:27your hand. Yes.
1:33:28>> Because it it can seem in their head and
1:33:30because they they themselves are kind of
1:33:33like the audience. So there there are
1:33:34times when people don't know. Is he
1:33:37asking me to do something now or is he
1:33:39referring to the magic trick or you know
1:33:41to the thing that we did before the
1:33:43show?
1:33:44>> Had to be Broadway. Had to be. What's
1:33:46her What's her name? What's her name?
1:33:48Say it. Say it. Yes. Say yes.
1:33:50>> It was Captain O'Hara. I'm just kidding.
1:33:52Katherine O'Hara,
1:33:53>> what? How?
1:33:54>> And they're not going to be sure. And
1:33:56often times they will ask for
1:33:58clarification and O will quickly shut
1:34:00them down because he doesn't want people
1:34:02to know. Obviously, that's part of the
1:34:04meta deception.
1:34:05>> I have a question.
1:34:06>> No, no, no question. Stop. Stop. Stop.
1:34:08The titanium card, right? We did this. I
1:34:10told you which one it solidifying your
1:34:12brain.
1:34:13>> That card. Show us.
1:34:15>> The card from earlier.
1:34:16>> Yeah, the one that you couldn't rip.
1:34:17Yeah. Tell us what was it.
1:34:18>> What does that say?
1:34:19>> Six of hearts.
1:34:20>> Six of hearts. future.
1:34:21>> Can you see it? Should I get closer?
1:34:23>> Had that.
1:34:24>> He wants you to think that the whole
1:34:25trick is happening right in front of you
1:34:27rather than simply completing a trick
1:34:29that he has started in the meta show in
1:34:31the pre-show.
1:34:32>> Scroll through.
1:34:33>> So, I suspect what has been edited out
1:34:35there was Andrew likely asking for
1:34:37clarific clarification as to what Oz is
1:34:40talking about. And Oz has just more
1:34:42explicitly tied it to something that's
1:34:44happened before the show and Oz doesn't
1:34:46want you to see that so it gets edited
1:34:47out.
1:34:48>> Find them and hide it close to you.
1:34:50Okay,
1:34:50>> this was picked completely at random.
1:34:52Random, random, random. This is totally
1:34:54random person. Random, random, random.
1:34:56Get one. Get one. Scroll through.
1:34:58>> Yep.
1:34:58>> And I want you to find
1:34:59>> So, when O says that something was uh
1:35:02picked at random,
1:35:03>> think about a magic trick. Think about
1:35:06all the different ways that a magician
1:35:08has to make you think that you're making
1:35:10a random choice, but you're actually
1:35:12making a forced choice.
1:35:1950 cards.
1:35:20>> Ellen Degenerous, Tom Cruz, Beyonce,
1:35:22Justin Bieber, Brad Pit. Is everyone
1:35:24here familiar to you?
1:35:26>> Ryan Gosling, you just got aroused.
1:35:27Okay. Jimmy Fallon, Oprah. Anyway,
1:35:29you're going to pick somebody,
1:35:30>> but I can't have you just look through
1:35:32and say, "That's my favorite." Cuz now
1:35:34what if I looked you up? What if I
1:35:35follow you on Instagram? It's too
1:35:36obvious. I want it to be spontaneous,
1:35:39kind of random.
1:35:41>> You can see them all. And these are
1:35:43>> shuffle. Yeah. Reach in.
1:35:46>> Randomly grab one. Random. Grab one or
1:35:48random. Okay. Random. Random. Random.
1:35:50Random. Get one. Get one. Got one. Hold
1:35:52on. Hold on. One more. One more. Ian,
1:35:54you wanted the last one. So, go hit it.
1:35:55Grab one.
1:35:56>> Go.
1:35:57>> Are we supposed to see these?
1:35:58>> Yes. Yes. Yes. Cover my eyes so I don't
1:35:59see a thing. Cover my eyes. Show
1:36:01everybody. Show the cameras. Make sure I
1:36:02can't see.
1:36:02>> Is it your dad's name?
1:36:03>> Me. Both of us. Show. Both of us show.
1:36:05>> Whatever. Show everybody. Whatever.
1:36:07>> I have been saying this GUY'S NAME.
1:36:11>> I WAS GOING TO GET THIS TATTOOED THE
1:36:12OTHER DAY. Remember
1:36:15>> definitely a guy
1:36:17>> well manicured.
1:36:18>> Ryan Gosling INTO
1:36:21YOU know Ian. You said you wanted a
1:36:23tattoo. So how about this?
1:36:27>> What's his name? Say it.
1:36:28>> Elvis Presley
1:36:29>> King. EVERYBODY SAY HELLO TO MR. ELVIS.
1:36:32>> HOLY [ __ ]
1:36:34>> HOW IS this possible?
1:36:35>> That's the essence of a magic trick.
1:36:37Magicians are experts that like that
1:36:39with cards. You've just seen O do it uh
1:36:42with a book and I'm about to show you
1:36:45how O's can do it with your phone
1:36:47contacts as well.
1:36:48>> Find them. But before you open it up,
1:36:53>> do you know this person's phone number
1:36:55by heart?
1:36:55>> Not by heart.
1:36:56>> Nobody knows anybody's phone number. Am
1:36:57I right? How many people's phone numbers
1:36:58do you know?
1:37:00>> Oh, wow. [laughter]
1:37:05>> Okay.
1:37:07>> Say it one more time. All [laughter]
1:37:09right,
1:37:11>> Mark, pick up.
1:37:12>> Now, we need to go back to the cards
1:37:14because we just got our uh our camera
1:37:17jump.
1:37:18>> Say it one more time. [laughter]
1:37:21>> Okay, so that shot right there. I'll
1:37:24edit in what the cards look like before,
1:37:26but I can just remember in my own
1:37:28memory. Uh that card uh here uh closest
1:37:31to us was not touching a piece of paper.
1:37:33It was more like way over here. The
1:37:35piles look sort of relatively uh the
1:37:38same, but I remember this one was quite
1:37:40neat. I think that one was much neater.
1:37:42This one didn't have so many messy at
1:37:44the bottom if I recall correctly. Okay,
1:37:46coming to you from the editing floor. It
1:37:48appears I did not recall correctly. And
1:37:50certainly this is one of the dangers of
1:37:51relying on our memories like this.
1:37:53They're extremely fallible, extremely
1:37:54prone to rewriting history, and
1:37:56certainly that's something that a
1:37:57mentalist and a magician would be happy
1:38:00to exploit uh with you. you know, we're
1:38:01very prone to getting details like this
1:38:04wrong, as well as larger details as
1:38:06well, for that matter. But this pile
1:38:07here is clearly changed. This pile up
1:38:09here, it's the top card that gives it
1:38:10away. It's clearly in a different
1:38:12position, as well as the relative
1:38:13position of this pile to whatever object
1:38:16this here is. Uh, and that's assuming
1:38:18that the camera stays fixed, which I
1:38:19think we can assume because this pile
1:38:21here in the middle, you see the cards
1:38:22have fallen in quite a unique way, and
1:38:24that's clearly been preserved, as well
1:38:26as the the relative position of this
1:38:27pile to again whatever object this here
1:38:29is. So O has uh swapped out two out of
1:38:32these three uh piles or he's gotten his
1:38:34assistant to swap out two of those three
1:38:36piles. Uh you know, they call for a
1:38:38bathroom break and they come in and make
1:38:39the switch for him. Uh the fact that
1:38:41this pile here in the middle stays the
1:38:43same doesn't really alter uh Oza's plan
1:38:46too much. He can he can kind of just do
1:38:48what he did on Joe Rogan uh when he
1:38:51gives Joe this sort of pile of cards and
1:38:52gets him to do all these different
1:38:54things until eventually he picks up the
1:38:55pile that he wants. he could do a
1:38:57similar thing here with Mark when he
1:38:58asked him to pick up a pile. So, there
1:39:00we [snorts] go. Back to the video. And
1:39:02so, yeah, there's been a deck switch. In
1:39:04fact, there's been three deck switches.
1:39:06Now, at the top of all of these three
1:39:08piles is the phone number of Andrew's
1:39:11contact. And so, when he asks Mark to
1:39:13choose any of these three, it doesn't
1:39:15matter. He switched out all of them.
1:39:16Super clever. Super clever.
1:39:18>> Mark, pick up any one of those those
1:39:20piles. Pick up any one of those piles.
1:39:23Put it in your hand. And I want you to
1:39:25put your fingers on the back where
1:39:26nothing can touch it.
1:39:30All right, here's this crazy. You could
1:39:32have picked anybody in your whole phone.
1:39:34You could have picked anybody. I did not
1:39:36say to you who it was. You went through,
1:39:39scrolled. You're like, imagine this
1:39:40person calling you. Don't.
1:39:42>> Okay, that's all I wanted you to see
1:39:44before I show you how potentially O
1:39:46would have forced Andrew to make this
1:39:48phone contact choice.
1:39:55I have a fun idea for you.
1:39:56>> Okay,
1:39:56>> grab your phone out.
1:39:58>> Oh my gosh.
1:39:59>> Oh gosh.
1:40:00>> He's like, "Quick, delete browser
1:40:01history."
1:40:02>> Bjan, go to Hold So I can't see it.
1:40:04>> Okay.
1:40:05>> Go to your contacts.
1:40:06>> All right.
1:40:07>> And and tip it. You know what? I want
1:40:08you to see. Okay. I want you to start
1:40:10scrolling through, Bjan. And I want you
1:40:11to look over his shoulder. Do a little
1:40:12eas
1:40:16Oh, tip it so I can't see it.
1:40:17>> Don't let him see.
1:40:18>> Now, do you know what's going to happen
1:40:19right now? This trick is so powerful
1:40:21because it doesn't rely on any kind of
1:40:23pre-show work, any kind of meta show
1:40:25camera edits. Uh the only meta deception
1:40:27is the fact that O is branding himself
1:40:29as a mentalist. This is all just good
1:40:31old verbal misdirection and slide of
1:40:34hand. And for that reason, it's
1:40:36powerful. O can do it at a moment's
1:40:38notice. I don't think he was planning on
1:40:40doing something with this guest, which
1:40:41is why he's leaning into it. Ordinarily,
1:40:43Oze likes to do this trick behind the
1:40:45scenes like he's done with Andrew
1:40:46Schultz and then calls back to it later
1:40:48using that metadaptive dual reality uh
1:40:51strategy, but it's a great trick and O
1:40:53performs it super well here and it's a
1:40:56simple trick. You know, after you see
1:40:57it, you will know exactly how it's done
1:40:58and we all have, you know, smartphones
1:41:00nearby. We can go and try it and you'll
1:41:03find that it's much much harder than you
1:41:06think.
1:41:08>> Someone's looking at your contacts. You
1:41:09start judging who's that one. It doesn't
1:41:11have a first name. It starts getting you
1:41:13start looking through and assessing who
1:41:14do I even know.
1:41:15>> Okay,
1:41:15>> so here's what we do.
1:41:17>> I want you to pick someone. But no, no.
1:41:20Okay, we're going to do this in a fun
1:41:21way. We're going to tip this down.
1:41:23>> Oh, who's got the heart emojis on the
1:41:25heart?
1:41:25>> So, I said this is a slide of hand
1:41:26trick. Now, that that slide of hand is
1:41:28going to come from Oz's hands. And so,
1:41:31that means he's going to get their phone
1:41:32into his hands. And look at how he does
1:41:35it. It's it's really fascinating to
1:41:38watch the psychology of how OZ just
1:41:41absolutely dominates the context of
1:41:43these situations and can really just do
1:41:45whatever he wants. And you imagine, you
1:41:47imagine now at the moment, you know,
1:41:48he's trying to be charismatic on screen.
1:41:50He knows that we're all watching.
1:41:53Imagine what he's like behind the
1:41:54scenes. Imagine how dominant and in
1:41:56control he would be when no one is look
1:41:58when there's no pressure from the
1:42:00cameras.
1:42:01>> Now we got it. Deep cuts. We're going to
1:42:03tip your phone down. Okay.
1:42:05>> And K, look. Is it scrolling?
1:42:06>> Look at that move. You could you could
1:42:08literally we could probably spend an
1:42:10hour talking about exactly what he just
1:42:12did. How he lines up his verbal saying
1:42:14we we're going to tip the phone down
1:42:16and, you know, puts his finger sort of
1:42:18on this guy's hand to pull it down. So
1:42:20he releases the grip on the phone
1:42:22because he was initially trying to pull
1:42:23it away. You could just It's It's
1:42:26masterful to watch.
1:42:28>> Deep cuts. We're going to tip your phone
1:42:30down.
1:42:30>> Okay.
1:42:31>> And K, look. Is it scrolling?
1:42:32>> Yes.
1:42:33>> BJ, I don't want you to look. So, this
1:42:34is the key. I want you to see
1:42:35>> and then immediately gives the
1:42:36justification for it. This is super
1:42:38powerful. I'm going to actually put in a
1:42:39compilation right now of O's using this
1:42:42uh well, this part of the trick where
1:42:44he's got to get the phone out of their
1:42:46hands and into his hands. And you look
1:42:48at the variety of ways that he does it.
1:42:49And every single time it's masterful.
1:42:52>> Turn it downwards.
1:42:53>> Yeah. Okay.
1:42:54>> Look at this guy flexing with the MX
1:42:55Platinum right there. Getting into the
1:42:57sky.
1:42:57>> Oh, black card.
1:42:58>> Start scrolling.
1:42:59>> Okay.
1:43:00>> No, no, no. Other here. Do this. Hold it
1:43:02for Mark. Look underneath. Damn, this
1:43:04thing's heavy. Is it scrolling
1:43:05>> there? There's a camera there. So,
1:43:06here's what you're gonna do. You're
1:43:07gonna tip this down. There's no camera
1:43:09underneath you. Look underneath. Baker,
1:43:11is it scrolling?
1:43:12>> Yep.
1:43:12>> Is it? Look, I want you guys to see.
1:43:14Very popular man. Is it scrolling? Mike
1:43:16or Michael?
1:43:16>> Whatever you prefer.
1:43:17>> Mike, we're at that level. All right.
1:43:18Can I just hold this up so Jason sees?
1:43:20Is it scrolling? I'm going to look. Is
1:43:21him scrolling?
1:43:22>> You know what? Let's be safe. Let's do
1:43:23this. Just I don't want to get close,
1:43:25but just tip down. Can I show it to No,
1:43:27my bad. My bad. Other Can I just get
1:43:29close?
1:43:29>> Yeah.
1:43:30>> Like this down. Okay. So when you
1:43:32scroll, you can't even see what you're
1:43:34doing. You feel me? Move it towards the
1:43:35camera. Can you just see? Can I just
1:43:37show? Is it really moving? Because
1:43:38otherwise it's going to be very Is it
1:43:40moving?
1:43:40>> Oh, who's got the heart emojis on?
1:43:42>> Who's got the heart? Now we got some
1:43:43deep cuts. We're going to tip your phone
1:43:45down.
1:43:46>> Okay.
1:43:46>> And K, look. Is it scrolling?
1:43:48>> Yes.
1:43:48>> Bjan, I don't want you to look. So this
1:43:50is the key. I want you to be scrolling
1:43:51without looking. So you take it and
1:43:53whenever you want, you're going to stop.
1:43:54Hold it. Start scrolling.
1:43:56>> Just scroll.
1:43:56>> Scroll. And then make sure and you're
1:43:59gonna see K there's gonna be a whole
1:44:00list of names.
1:44:01>> I mean he's got short shorts.
1:44:02>> So he does it so subtly that you know
1:44:05you can just forget what's happening if
1:44:06you're so focused on you know other
1:44:08contacts and the fact that they're
1:44:10scrolling. You've just missed the two
1:44:11slide of hand moves that O has done. Now
1:44:14they're very subtle uh moves and
1:44:16virtually invisible but I'll show them
1:44:18for you so you can understand. Well
1:44:20there's the first one right there. The
1:44:21first is by simply just turning the
1:44:23phone uh towards himself. He gets a nice
1:44:26little glance just like with the book
1:44:27trick. He gets a glance at the uh first
1:44:29contact. Well, he gets a glance at all
1:44:31of all of the uh contacts on the screen,
1:44:33but he's going to memorize the first
1:44:35contact.
1:44:36>> So, go take your finger. Make sure it's
1:44:37moving. Make sure it's moving. And
1:44:39whenever you want.
1:44:40>> Oh, I'm not looking. Dude, [laughter]
1:44:40you take make sure
1:44:43make sure this thing is scrolling.
1:44:44Here's what we do. You scroll down. Look
1:44:45underneath. Is it moving?
1:44:47>> So, you're not going to know where
1:44:48you're going to end up. That's the whole
1:44:48point of this. I want to make sure
1:44:50you're seeing it move and that you know
1:44:51for a fact it's moving. So, you do it.
1:44:53And then he's going to force that
1:44:55contact to be chosen, which might seem
1:44:57confusing because isn't the whole point
1:44:58to turn the phone upside down and then
1:45:00scroll. So what if he's memorized that
1:45:02contact? How is he going to come back to
1:45:04it? And the key is the second slide of
1:45:06hand move which he does right here.
1:45:08>> Take it. And whenever you want, you're
1:45:09going to stop, hold it, stop,
1:45:11>> which you don't see at all because his
1:45:13hand is just on the power button of the
1:45:15phone, which he presses to turn off the
1:45:17screen. And if the screen is obviously
1:45:19disabled, then no amount of scrolling is
1:45:21going to change what contact is at the
1:45:23top of the list. And so this is
1:45:25brilliant. This is this is the
1:45:26misdirection is that in the name of
1:45:29fairness, in the name of making sure
1:45:31that the the choice is super random,
1:45:33which is something that he can justify
1:45:34by leaning into the metad of mentalism.
1:45:37In the same way with the book, he said,
1:45:38"We're going to choose the first words
1:45:39on the book because if you choose any
1:45:41word you want, then you're going to
1:45:42choose words that you like, and then I
1:45:44can reverse engineer that using my 30
1:45:46years of mentalism to figure out what
1:45:47word you chose." So, to make it harder
1:45:49for me, we're just going to choose the
1:45:50first word. In this case, we're going to
1:45:51make it harder for me. We want to make
1:45:53sure that it's random. We're going to
1:45:54turn the screen down. You're going to
1:45:56jumble up your contacts like this and
1:45:58choose it that way. That metad, you can
1:46:00see it just pays dividends for O's at
1:46:03almost every aspect of everything he
1:46:05does. Scroll it.
1:46:07>> Just scroll.
1:46:07>> Scroll. And then make sure and you're
1:46:10gonna see. Okay. There's going to be a
1:46:11whole list of names.
1:46:12>> I mean, he's got short shorts on. I'm
1:46:14looking everywhere. I'm trying not to
1:46:15look.
1:46:15>> You're done.
1:46:16>> I'm done.
1:46:16>> That's it. Bring it close to your heart.
1:46:18>> Let me ask you a question.
1:46:20>> The only little problem that he has to
1:46:22get over right now is the fact that the
1:46:24screen has been turned off, which may to
1:46:27someone who's paying attention may seem
1:46:29just a little suspicious because they
1:46:31they've been scrolling and then they
1:46:33turn up and they see the screen the the
1:46:34screen is off. Perhaps if they're paying
1:46:37attention, and many people don't
1:46:38actually pay attention, but if they're
1:46:39paying attention, uh, they may realize
1:46:41that they weren't scrolling at all. So O
1:46:43now needs to misdirect that awareness by
1:46:46getting them to pull it close to their
1:46:47chest, which seems justified because
1:46:49it's all about hiding it from O. And now
1:46:51he just needs to ramble for how long?
1:46:53About 30 seconds, which is the amount of
1:46:55time for a phone screen to naturally
1:46:57time out.
1:47:02Look, I've been talking for a while, but
1:47:03you wanted the top. If that's what you
1:47:04want, look where you landed.
1:47:06>> He even plants it by saying it verbally.
1:47:08I've been talking for a while.
1:47:10>> The name at the top.
1:47:12>> Oh shoot.
1:47:12>> Oh no, he got rid of it. Oh no, we got
1:47:14it. We got it. We got it. We got it. We
1:47:15got it. Yeah. Yeah, we got it.
1:47:16>> Okay.
1:47:16>> Okay.
1:47:17>> Hearing that kind of feedback from him
1:47:19and the host saying, "Oh no, we got rid
1:47:21of it."
1:47:22It's amazing because
1:47:24it looks to them like this sort of
1:47:26inconsequential thing that may derail
1:47:28the trick and oh oh no it's upset
1:47:30everything and yet it's exactly what O
1:47:33wants to have happened. That's the power
1:47:35when someone thinks that something is
1:47:37completely irrelevant to what you're
1:47:39doing and it is the most relevant thing
1:47:41to what you're doing. You've got them in
1:47:43the palm of your hands.
1:47:45>> You see someone in there?
1:47:47>> Yes.
1:47:47>> Did you have any idea who you're going
1:47:49to pick?
1:47:49>> No.
1:47:50>> Right. Is there any way in the world I
1:47:51could know something you didn't even
1:47:52know?
1:47:52>> No, because we were scrolling.
1:47:53>> Yeah, absolutely not.
1:47:54>> All right, put your phone down.
1:47:55>> That's an important thing to pay
1:47:56attention, by the way, when O says, "Is
1:47:57there any way in the world that I could
1:47:59know when you don't even know?" Imagine
1:48:01how powerful this trick becomes when he
1:48:04calls back to it using that deja vu
1:48:06metad on a podcast live where this time
1:48:09he just asked them to act it all out to
1:48:11to get out their phone and he's just
1:48:12going to remind them of everything that
1:48:14you just saw here. Now, he can ask them
1:48:16questions like, "Did I touch your phone?
1:48:18Did I do anything? means, "Did I look at
1:48:19the contact? Did you write it down
1:48:20anywhere?" And they're just going to be
1:48:21like, "No, no, no, no, no." Cuz in their
1:48:23mind, nothing suspicious happened. But
1:48:25their testimony means nothing because
1:48:27they are not a magician who has, you
1:48:30know, they have no experience with slide
1:48:32of hand or misdirection. And yet Oz, you
1:48:34know, he will ask them, he'll really
1:48:36lean into their testimony as evidence.
1:48:38And that just becomes so convincing for
1:48:40people because people just think, well,
1:48:42why would they lie? They're not lying.
1:48:44They've been tricked.
1:48:46>> Okay.
1:48:47>> Okay. I'm going to have you sit here.
1:48:48We're gonna kind of I'm gonna tag team
1:48:51this. I'm gonna see who I can pick up
1:48:52things from first.
1:48:53>> Okay.
1:48:55>> Look at the body language. The tension.
1:48:57I think it's a guy. Is it a guy?
1:48:58>> It is a guy.
1:48:59>> But here's what's funny.
1:49:00>> Oh [ __ ]
1:49:01>> You were confused. That didn't make
1:49:02sense. There's no context. Listen to me.
1:49:04That didn't make sense. Do you know why?
1:49:06>> Cuz it's not a famous person.
1:49:07>> Nope. Because if the name was Michael,
1:49:09she would have known it was a guy. She
1:49:11was confused. She didn't know if it was
1:49:12a guy or girl. It's a name that could go
1:49:14either way. This is funny. you just
1:49:16>> so you can see O has this job of reverse
1:49:19engineering his banter based on the name
1:49:21that he already knows and this is what
1:49:23mentalism is. This is the the value of
1:49:25that metad of that metad is that now O
1:49:29needs to come up with reasons on the fly
1:49:31and that's his real strength. Look at
1:49:33the verbal acuity that he has here. He
1:49:35sees the name is Chris. It's gender
1:49:37ambiguous. How can he tie this into what
1:49:39other people were doing? Say that this
1:49:40person was confused. Oh, it's all
1:49:41gender. And this just kind of reverse
1:49:43engineers that meta deception that he's
1:49:45figuring things out from the ground up
1:49:47rather than building things from the top
1:49:49down.
1:49:50>> Gave it away. You didn't realize Chris.
1:49:52Is it Chris?
1:49:55>> Yes.
1:49:55>> Do you understand what just happened?
1:49:58>> No, because you can't get in here.
1:49:59>> Think of his last name. Think cuz I know
1:50:01a million dudes named Chris. Think of
1:50:02Chris's last name.
1:50:04>> Okay. I thought I thought I thought his
1:50:05last name.
1:50:06>> And you mix up the letters in this
1:50:07person's last name.
1:50:08>> Okay.
1:50:08>> And you just stop and you grab out
1:50:10anyone you want. You just grab it out.
1:50:11You got one?
1:50:13>> Yeah.
1:50:14>> Did you grab one, too?
1:50:15>> Yeah. A letter. Yeah.
1:50:16>> Yeah. All right.
1:50:17I don't think you did a vowel. You
1:50:19didn't do a vowel, did you?
1:50:20>> No.
1:50:20>> You thought it's too easy. I'm not do
1:50:22the vowel. And then I think you did
1:50:23different letter. B. Are you thinking of
1:50:25a B?
1:50:26>> Wait. Wait. Wait. Wait.
1:50:27>> Hold up.
1:50:27>> I wasn't.
1:50:28>> That wasn't hers. I told you you're
1:50:29thinking of different letters. Chris.
1:50:30Chris. Chris.
1:50:32>> I love when people watch these videos
1:50:34and say it's set up cuz you didn't know
1:50:35who you were going to pick. How could I
1:50:36know this?
1:50:37>> Hey, this is crazy.
1:50:38>> What's his name? That's clever for O to
1:50:40lean into that, right? I love it when
1:50:42people say these these videos are set
1:50:44up. He can like if if your trick
1:50:46requires no setup, then milk it. If your
1:50:49trick is going to rely on a camera edit
1:50:51later where you're going to do a deck
1:50:53switch and so they can shuffle the cards
1:50:55as much as they want, then milk it.
1:50:57That's what he does. It's it is I
1:51:00hesitate to say brilliant because I know
1:51:01so many magicians frown upon things like
1:51:04cr um metadception and and camera edits
1:51:06and things like that. But for what it
1:51:08is, it's clever.
1:51:12>> Tell us.
1:51:12>> Chris Gilbert.
1:51:13>> CHRIS,
1:51:13>> NO WAY. IT was Chris Gilbert.
1:51:16>> Yo,
1:51:18>> how did you do that?
1:51:19>> How did you actually How did you do
1:51:20that? Like [laughter] I want to know.
1:51:25>> That was that was awesome. And it's such
1:51:27a fascinating thing that something that
1:51:30you know the the the heart of this trick
1:51:32is just that verb well essentially the
1:51:34slide of hand move those two slide of
1:51:35hand moves turning off the phone getting
1:51:37a glance at the contact before you do
1:51:38so. And if people don't catch that you
1:51:41are guaranteed to create a perception
1:51:45for them that their mind just has to
1:51:46accept is impossible. And that's super
1:51:50powerful. So I hope you're starting to
1:51:52appreciate how in control O is. That
1:51:54phone trick might look simple, but I
1:51:56encourage you, go and try it with a
1:51:57friend, and you will quickly realize
1:51:58that there's a thousand idiosyncrasies
1:52:01and ways for it to go wrong. So, when
1:52:03you see O perform it in a TV studio with
1:52:05lights and eight different cameras and
1:52:07famous people that he's never met
1:52:08before, and he's still so smooth, yeah,
1:52:11it's pretty clear that this guy is
1:52:13performing on a level that is difficult
1:52:16to imagine, to be honest. But things
1:52:19still go wrong. And O will actually use
1:52:20that as metadception to convince people
1:52:23that he's not performing magic tricks.
1:52:29>> I'm not even going to write it. Look at
1:52:30me right here.
1:52:32>> Dennis Frank.
1:52:36>> Close.
1:52:39Dennis Fron.
1:52:42[snorts] Dennis Fron.
1:52:44>> I've been off by one ladder every time.
1:52:45I've been so close.
1:52:48Yeah. France. France. I I said it wrong.
1:52:50Yeah. But there we go.
1:52:51>> You were close.
1:52:51>> I was close.
1:52:52>> You were close.
1:52:52>> Listen, I told you I can't get it right
1:52:54every time. This is validates it. This
1:52:56is not a magic trick.
1:52:57>> Right.
1:52:57>> Now, we know that he is performing magic
1:52:59tricks very well. But for those who have
1:53:01been tricked by the metad of mentalism,
1:53:03the fact that things go wrong kind of
1:53:05makes sense.
1:53:05>> And you're going, are you I mean, is
1:53:08there a are there cues to specific
1:53:11letters? Are there
1:53:12>> So, I'm going to tell you again. I could
1:53:14sit here and we could spend the next 10
1:53:15years going over how to like how to
1:53:17understand mentalism. But here
1:53:18>> if what Oz is doing is these thousands
1:53:20of calculations of people's body
1:53:22language and body cues, it makes sense
1:53:24that there would be a wrong turn
1:53:26somewhere and you end up at the wrong
1:53:27answer.
1:53:28>> Most people don't know what a mentalist
1:53:29is. You go on the street, 100 people,
1:53:31how many people are going to say, "Yeah,
1:53:32>> I have a second um ATM card."
1:53:37>> Leave that for the end. Huh?
1:53:37>> You want to try it again?
1:53:38>> Not yet. I don't like to do the same
1:53:40thing. I got to do better.
1:53:41>> I want to see it again though. I want to
1:53:42see if you could do it again.
1:53:43>> All right. Before we go, how about that?
1:53:45Not right now. We're we're we're in
1:53:46flow.
1:53:47>> Okay. Okay.
1:53:48>> Uh but
1:53:49>> I'm trying to throw you off.
1:53:50>> You could listen. I don't get it right
1:53:52every time. That's the other part. A
1:53:53magic trick works every time. This
1:53:54doesn't.
1:53:55>> I've eaten it on live national TV with
1:53:59millions of people watching. Yeah, man.
1:54:00There's no safety net. Like, it's not a
1:54:02trick. There's not a car trick where you
1:54:03put it in, I find it. There's not like
1:54:04that.
1:54:05>> So, how are you doing it?
1:54:06>> Well, I mean, I'm telling you, I don't
1:54:08read minds. I read people. I've got a
1:54:09whole host of different skills,
1:54:12algorithms, you name it. Like
1:54:13misdirection. It's all a wheelhouse of
1:54:15skills that I'm using to create the
1:54:17impression I can read your mind.
1:54:19>> Yeah. I was thinking of the letter T.
1:54:21>> T.
1:54:21>> I did originally think of Y.
1:54:23>> You did?
1:54:23>> Yeah. And then I moved to to T. Yeah.
1:54:27>> If I got it right every time, it would
1:54:29be a magic show.
1:54:30>> So sometimes when you perform,
1:54:32>> count the letters to yourself.
1:54:34>> Okay.
1:54:34>> This is like watching somebody when they
1:54:36play poker. Six letters, isn't it? It
1:54:38is.
1:54:39>> Yeah. Come on. Get it together,
1:54:40[laughter] Gary. Make it hard on me.
1:54:42Pick a letter in the name. Anyone you
1:54:44want.
1:54:44>> Okay.
1:54:45>> See, I think he did. He got smart. He
1:54:47got wise. So, I told you last time
1:54:49nobody picks vows. I think Gary this
1:54:50time said screw O's. I'm getting mad at
1:54:52him now. I'm going to probably pick a
1:54:54vowel. Did you pick a vowel? Tell me the
1:54:55truth.
1:54:56>> I did not.
1:54:56>> Okay, that's fine. I I see I can't get
1:54:58it right. This is not a magic show,
1:55:00Howard. There's no card tricks,
1:55:02>> right? You ever did your tricks or
1:55:04whatever you want to call them in front
1:55:05of a group of people and then been just
1:55:08wrong as hell like missed the mark by a
1:55:10hundred yards?
1:55:11>> Yeah. Oh yeah. So honestly, no pain, no
1:55:14gain. If I was doing the same trick over
1:55:16and over, it would get kind of boring.
1:55:17And the fun part for me and the audience
1:55:19is that you don't know if it's going to
1:55:20work. Now think when you do a magic
1:55:21trick, again, I love magic tricks. I'm
1:55:23not hating on magic, but if somebody
1:55:24picks a card and you put it back and you
1:55:26find it, you could practice that at home
1:55:27a thousand times, right? over and over
1:55:29in the mirror and you know it's going to
1:55:31work. But when you do things for
1:55:33audiences where you're trying to guess
1:55:34what they're going to think, it's not
1:55:36going to work a lot of the time. So, you
1:55:37got to get better and better and that
1:55:38takes years. And that's why there's not
1:55:40a lot of people that do what I do
1:55:41because it goes wrong for years. Like
1:55:45like not even a couple days. Like you
1:55:46you get it wrong over and over and most
1:55:48people can't stomach that kind of
1:55:49rejection.
1:55:50>> Well, I'm mentalism is so hard to get
1:55:53good at because the first few times you
1:55:55do it, you suck. You get it wrong every
1:55:56time. Magic tricks you can practice at
1:55:58home. I'm gonna do this card trick over
1:55:59and over. It's going to work. Mentalism.
1:56:01When you go out and say, "Think of a
1:56:03name." And I guess the name and I'm
1:56:04wrong. That's like a gut punch, man.
1:56:07That just takes the wind out of you.
1:56:08That happens five times in a row. You're
1:56:09like, "I'm going to stick to magic
1:56:10tricks."
1:56:11>> But now that you're understanding Oza's
1:56:12methods, you can actually appreciate
1:56:14what he really means when he says
1:56:16something like this.
1:56:17>> Here's the the key part is I sometimes
1:56:19still get it wrong. But the true measure
1:56:21of a professional and a consmate
1:56:22professional is that you don't know if I
1:56:25got it wrong because I'm able to
1:56:27misdirect, move things around, pick your
1:56:29own adventure. And sometimes you'll see
1:56:30a show and go, "That was the most
1:56:31amazing thing ever." And I know that it
1:56:34went horribly wrong twice, but I kept
1:56:36moving you from door number one to door
1:56:38number two to door number three, and you
1:56:39just had no idea.
1:56:41>> So, I'm going to show you the moment I
1:56:42believe Oz is referring to. He's going
1:56:44to do the phone trick and fail twice,
1:56:46but not because he stuffs up the side of
1:56:48hand or anything like that, but because
1:56:50the misdirection works a little too
1:56:52well.
1:56:53>> Still don't believe.
1:56:54>> What a way to start the show.
1:56:55>> I know. I don't know why.
1:56:56>> End it big. End it big. Grab your phone.
1:56:59>> Okay.
1:56:59>> And and I want this to be random because
1:57:02again, you thought for a second. I wish
1:57:03I could do this with them, but I can't
1:57:04see them from far away. Go to your
1:57:05contacts.
1:57:07>> Okay. Contacts.
1:57:09>> And you know that she just popped the
1:57:11name Aiden popped in her head. Did you
1:57:13write Aiden's name down? Did you whisper
1:57:14to me? Did you say anything?
1:57:16>> No, I I haven't been in contact.
1:57:18>> It's just referring to an earlier trick
1:57:19there.
1:57:20>> Scrolling through your list of names
1:57:22>> right now. Real time. Dave, you're
1:57:23seeing this right there. Is there a
1:57:24mirror or anything behind you that can
1:57:25see? You know what? Let's be safe. Let's
1:57:27do this. Just I don't want to get close,
1:57:28but just tip down. Can I show it to No,
1:57:30my bad. My bad. Other Can I just get
1:57:32close?
1:57:32>> Yeah.
1:57:33>> Like this down. Okay.
1:57:34>> So, when you scroll, you can't even
1:57:37>> I think Oza's body language here is
1:57:38really good. you know, he has to frame
1:57:40everything under the guise of trying to
1:57:42be as fair as possible, trying to not be
1:57:44suspicious. There's been a lot of
1:57:45conversation earlier in the podcast
1:57:47between himself and Dave and, you know,
1:57:49whether Oz is performing magic tricks or
1:57:51whether he's reading people and all this
1:57:53kind of thing. And so if you look at O's
1:57:55here to, you know, whereas before we've
1:57:57seen him just grab the phone immediately
1:57:59and and show them how to tilt it down by
1:58:01by allowing Bri to think that maybe, you
1:58:03know, you you can just tilt it down and
1:58:05you go ahead and do it. It's it's very
1:58:07powerful because it makes it seem like
1:58:08he's not trying to get the phone out of
1:58:10her hand, which he absolutely is.
1:58:12>> Even see what you're doing. You feel me?
1:58:13Can we do this? Can we just move it
1:58:15towards the camera? Can you just see Can
1:58:16I just show Is it really moving? Because
1:58:18otherwise it's going to be very Is it
1:58:20moving or not?
1:58:20>> Yeah.
1:58:21>> Can you guys Is that how you guys see it
1:58:22on the camera? I can't tell. like doing
1:58:23something.
1:58:24>> Dave, make sure I'm not doing anything.
1:58:25Is it scrolling? I want to know. So, you
1:58:27take it. Start scrolling when hold a
1:58:30little lower so nobody can see on
1:58:31camera. A little lower.
1:58:32>> Shut it off on X.
1:58:32>> Oh, yeah. Don't don't time out.
1:58:34>> Okay.
1:58:35>> Okay.
1:58:38>> I mean, I've seen this so many times and
1:58:40it still puts a smile on my face uh when
1:58:42I see it. [snorts] You know, Bri has
1:58:44totally been tricked by the metad that O
1:58:47is is a mentalist. So, she doesn't think
1:58:49there's anything suspicious here at all.
1:58:51So, as far as she can tell, she's just
1:58:53being compliant. He wants this he wants
1:58:55the phone screen turned down um to make
1:58:58it random and oh, she just happens to
1:59:00notice that it's been turned off and so
1:59:02she's got to turn it back on. It's it's
1:59:05honestly amazing. But look at Oz's body
1:59:07language. Um you know, he scratches his
1:59:09head. He's got to reset himself. It's so
1:59:11amazing.
1:59:13>> Start scrolling when a whole little
1:59:15lower so nobody can see on camera. A
1:59:16little lower.
1:59:17>> I shut it off on X.
1:59:17>> Oh, yeah. Don't don't turn that. Okay.
1:59:20Okay.
1:59:23>> Now, only key thing here is if you
1:59:25accidentally butt dial somebody. You
1:59:26know what I'm saying? So, wait, you did
1:59:28something a second ago.
1:59:29>> I don't mean to be laughing at O's
1:59:30expense. What what he does here to
1:59:32recalibrate, to reset, and to get it out
1:59:34of her phone, like out of her hand again
1:59:36is incredible.
1:59:38>> When you did it, were you going only
1:59:40your face?
1:59:40>> Did you think like how suspicious would
1:59:42it be to grab the phone for a second
1:59:43time? But that's what he's going to do.
1:59:45>> Were you in like the full full contact?
1:59:48>> Okay. Okay, great.
1:59:49So,
1:59:50>> can you guys see which camera is this
1:59:52showing to? I just want to make sure. I
1:59:53love how Dave's not even blinking. He's
1:59:55like, "Something's going on." Watch
1:59:56close.
1:59:57>> There's clearly something going on.
1:59:59>> Tell me what it is. I got to know.
2:00:00>> I don't [ __ ] know. You're very good.
2:00:02>> Okay, so do this. Stop.
2:00:05If you bring it close to the camera, how
2:00:07how tight can the camera zoom?
2:00:10>> Okay, do take it. You're going to bring
2:00:12this close to your body.
2:00:14>> You do it from scratch. Do it from
2:00:15scratch. Scroll again. Okay. get the
2:00:17camera in close while she's doing it.
2:00:19>> Like there's the glance, right? He's
2:00:20getting the the peek at the phone there,
2:00:22but just look at that. The language
2:00:24choice, you know, does just do it do it
2:00:27from scratch. Take it out. And what he's
2:00:28really saying is that he's doing the
2:00:30trick from scratch. He's starting the
2:00:32whole slide of hand and turning the
2:00:34phone screen off and everything from
2:00:35scratch. That's what he's doing. Why Why
2:00:37on earth does it make any difference for
2:00:39Bri? Sorry again, I'm not having a go at
2:00:41O's here. It's just [snorts] ah man,
2:00:43what a what a performance.
2:00:44>> Is that okay? Make sure I want to make
2:00:47sure you're seeing it move and that you
2:00:48know for a fact it's moving. So you do
2:00:50it.
2:00:50>> Can you look under? Is it Is it on?
2:00:51>> Yes.
2:00:52>> Give it a scroll. Quick, quick, quick
2:00:53swipe. Whenever you want, say, "I'm
2:00:55done." Low, lower, lower. Shut it off.
2:00:57>> No. No. Don't shut it off yet.
2:00:58>> I might have shut it off. I did. Yeah.
2:01:00>> Okay.
2:01:01>> Okay.
2:01:01>> Can you believe that? Like, can you
2:01:04believe that? He shows her the phone
2:01:06right here. He's saying, "Can you make
2:01:08sure that it's on?" So, he hasn't yet
2:01:10done the move. He hasn't turned the
2:01:12screen off. He's just trying to
2:01:14absolutely quell any possibility of her
2:01:17doing what she's about to do again.
2:01:20>> Yes.
2:01:20>> Give it a scroll. Quick, quick, quick
2:01:21swipe. Whenever you want, say, "I'm
2:01:23done." Low lower.
2:01:25>> She just like, "Is she psychic?" Cuz
2:01:27like she just senses it. She's got no
2:01:29What indication does she have? And she
2:01:31just got like, "Oh, maybe it's maybe
2:01:32it's turned off." Or I think maybe
2:01:34what's happening, you know, Oz is
2:01:36grabbing her wrist to try to take total
2:01:37control of this situation. I think she
2:01:39just may be cautious about the fact that
2:01:42maybe her fingers are pressing the the
2:01:43power button and she's turning it off.
2:01:45But man, insane.
2:01:47>> No, no, don't shut it off yet.
2:01:48>> I might have shut it off. I did. Yeah.
2:01:50>> Okay.
2:01:50>> Okay. Okay. Score off.
2:01:55>> I What's the tightest you can get?
2:01:57>> I'm going to do one thing different. I
2:01:59want you I want her to be able to show
2:02:00you this.
2:02:00>> Okay.
2:02:01>> Because the phone he's going to think
2:02:01it's something to do with the phone.
2:02:06The phone. He's gonna think it's
2:02:07something to do with the phone. here.
2:02:09Just jot down the name and go up to the
2:02:11camera and show them. Don't whisper it.
2:02:14Don't say it on the thing.
2:02:14>> Any name.
2:02:15>> Yeah. Forget your phone. Just somebody
2:02:16you just thought of. Somebody that they
2:02:18know or don't know. Bar stool or
2:02:21different. Somebody that you know. Write
2:02:22down that person's first name.
2:02:25Wait till I'm turned around. Can you
2:02:28>> The misdirection. It's just so like
2:02:33man,
2:02:36what do you even say? What do [snorts]
2:02:37you even say? You know, and and and
2:02:39because people aren't familiar with the
2:02:41trick, you just have three people who
2:02:43are sort of watching like a hawk who now
2:02:45just have no idea really how to make
2:02:47sense of that situation at all. No one's
2:02:48accusing him. Poor Noi has been super on
2:02:50his case. And David doesn't come in and
2:02:52say, "Ah, you've stuffed something up.
2:02:54It's just everyone's there just like,
2:02:55okay, you know, just doesn't know, don't
2:02:57know what to think." Magicians exploit
2:02:59that. Can
2:03:00>> you do this? Can you literally come over
2:03:01and put your hands on my face? Is there
2:03:02any chance? Put your hands on my face.
2:03:04There's no way I can see this.
2:03:06Cover me up.
2:03:10>> Kai,
2:03:11>> did you guys see it?
2:03:12>> So, when O says, you know, choose your
2:03:13own adventure, he's now pivoting into a
2:03:15trick that we haven't looked at. We may
2:03:16as well look at it here cuz it's not too
2:03:18complicated. Uh, but he's going to pivot
2:03:20into another slide of hands trick.
2:03:23>> We didn't see. Do
2:03:24>> you want me to show them?
2:03:24>> My bad. My bad. Yeah, just make sure I
2:03:26can't see it.
2:03:27>> Now you see it.
2:03:29>> Yes, I see it.
2:03:32>> If you can eat it,
2:03:34>> eat it. Totally kidding. I like how she
2:03:36would have done it. Bar stool sports
2:03:37intensity. Take the sucker. Who saw it?
2:03:39Is it full of
2:03:40>> It's a good joke. Using the joke uh
2:03:42right before you're about to do the move
2:03:44is good.
2:03:45>> You guys saw it.
2:03:45>> Mhm.
2:03:47>> I'm totally kidding. He would have done
2:03:48it. This guy's intense.
2:03:50>> Just disarms people, takes them out of
2:03:52the context. They're not focusing
2:03:53anymore. Uh and then immediately he can
2:03:55take control to do the move.
2:03:57>> See?
2:03:57>> Shred. Take it. Are you looking? Watch
2:04:00over my shoulder. Make sure this thing's
2:04:01all ripped up. Hold out your hand,
2:04:02please. Rip. Rip. Here's what I think. I
2:04:04think J.
2:04:05>> Next best thing destroy. Look. Rip.
2:04:07Shred. Hard eye contact. Rip. Make sure
2:04:09I'm looking. I hold out your hand.
2:04:10>> Okay.
2:04:11>> He could have thought or girl.
2:04:13>> Man, it's so smooth how he does it.
2:04:14>> Hold out your hand.
2:04:15>> Look at that.
2:04:16>> He could have thought rip, shred, hard
2:04:18eye contact. Rip. Make sure I'm looking.
2:04:19I hold out your hand.
2:04:20>> So, right there at that moment, just,
2:04:22you know, having the excuse to say,
2:04:23"Hold out your hand. I'm going to put
2:04:24these broken pieces in there." The fact
2:04:26he's able to do a couple of tears
2:04:27beforehand, so it makes it look like
2:04:29it's basically already destroyed. uh the
2:04:32misdirection of looking at someone and
2:04:33saying hard eye contact which is a
2:04:35tactic that he used um with the book
2:04:37trick and one of the I think on Bert's
2:04:39podcast I believe.
2:04:40>> So I'm staring you Bert hard eye contact
2:04:42make it weird. You already did it.
2:04:44>> Bert, make sure I don't ever look at
2:04:45her. There's no reflections.
2:04:46>> Which is really clever because you think
2:04:48why ask someone to make hard eye contact
2:04:50if you're then going to break it.
2:04:52>> Bert, make sure I don't ever look at
2:04:53her. There's no reflections. Whenever
2:04:55you want Cotti say stop. Is it this in
2:04:56the spot? Okay. Do me a favor. Take a
2:04:58look at the first word or two. And it's
2:05:00just because it makes you break it seem
2:05:02completely natural. Super smooth here
2:05:04from he
2:05:06puts an X puts a line. That means he's
2:05:08going to she's going to write it right
2:05:10where he wants it. So that when it's
2:05:11folded, he he'll also generally prefold
2:05:13the card as well so that it's, you know,
2:05:15on the top and then along the side. And
2:05:17so that when he rips it, he's just got a
2:05:18clever slide of hand way of ripping that
2:05:20so that it's got one piece left over
2:05:21which will have the name which he's able
2:05:23to open up very quickly. You know, he's
2:05:25had decades to practice this slide of
2:05:26hand to master it and just tears that
2:05:28again. And uh away you go. Now it's just
2:05:31onto the metad of mentalism.
2:05:34>> I think she would have done somebody
2:05:35that you guys all know cuz when I said
2:05:36it, I watched her eyes flicker.
2:05:37Guaranteed. I think it's a friend of the
2:05:39pod.
2:05:41>> It sounds like a sunshine. Addison Ray.
2:05:43IS IT ADDISON?
2:05:44>> WOW.
2:05:44>> YEAH, SHE HAS A LITTLE POD THOUGH, so
2:05:46you lose.
2:05:47>> I lose. [laughter]
2:05:49>> She's going to be her and Taylor Swift
2:05:51next week. You're welcome. Yeah,
2:05:53>> as a little bonus, you know, on um on
2:05:55the other podcast, he just reveals the
2:05:57name, you know, in this case. Uh let's
2:06:00see how good this guy's side of hand is
2:06:02because he's going to reveal it in a
2:06:03different way.
2:06:06So, right now, Oz is writing on a
2:06:08business card. Uh it's super well
2:06:10disguised. Looks like he's just writing
2:06:11in his notepad. Uh but he's not. He's
2:06:13writing on a business card. And his goal
2:06:15is to get what is in his hands right now
2:06:17and make it look like it's going to come
2:06:18out of the wallet that Rich is holding.
2:06:21>> We've never met. We've never spoken. Did
2:06:22I Did you Did there way that could have
2:06:24known he'd be here during this?
2:06:26>> If there's a photo of this guy in there,
2:06:27you're going to flip out.
2:06:29>> Yeah, [laughter]
2:06:30>> he's about to get a restraining order.
2:06:32Okay, no kidding. Let's get this Davey.
2:06:34Jason, you do it. Lon, you got to help
2:06:35the zipper. Come on over. Come on. Close
2:06:37enough. The little zipper, please.
2:06:39>> Oh, man.
2:06:41>> And my business card.
2:06:43>> So, right. Like a rigged wallet, you
2:06:44know? It's got a slit on it on the left
2:06:46hand underside. So, we can just kind of
2:06:48feed the card in the card.
2:06:50my number, but I wrote something on the
2:06:52back of Blake. Read it to him.
2:06:54>> Say hello to Eman for me.
2:06:56>> Oh my god.
2:06:58>> So, you know, the card has sort of
2:06:59everything written out ahead of time
2:07:01already. He just needs to write the
2:07:03name. Aean, Eman, whatever it is. But
2:07:05just look at the the the cool how smooth
2:07:07of an operator this guy is with his side
2:07:09effect.
2:07:09>> Okay, I'm kidding. Let's get this D.
2:07:10>> He's got the business card here in his
2:07:12left hand. Zipper. Come on. Come on.
2:07:14Open up the little zipper.
2:07:16>> Feeds it in. Oh, dude. and my business
2:07:19card
2:07:20>> and the misdirection of the zipper,
2:07:21right? Because that just makes it seem
2:07:22so like the only, you know, you zip
2:07:25something to get it out [laughter] and
2:07:26then it implies that, you know, if you
2:07:27didn't hear a zip noise, then it's all
2:07:29clean. Super smooth. Anyway, O's king of
2:07:32slide of hands. Not king,
2:07:34but good. Now, as I said earlier,
2:07:37there's no metad in the phone trick
2:07:39other than the metad of mentalism
2:07:41itself, which is designed to obscure the
2:07:43first order deception, slide of hand,
2:07:45misdirection gimmicks of the magic
2:07:46tricks upon which mentalism itself
2:07:48ultimately relies. Now, that doesn't
2:07:50mean that you can't elevate the phone
2:07:52trick to new deceptive heights by
2:07:53incorporating other metad.
2:07:56In fact, that's exactly what we're going
2:07:58to see O do now.
2:07:59>> Wait, get Sarah in here. Where's Sarah?
2:08:01>> Grab Sarah quick.
2:08:02>> That's amazing. I want you please turn
2:08:04on your phone
2:08:08and [laughter] and take a step back so
2:08:10there's no way you think I can see your
2:08:11mirrors or anything. And I want you to
2:08:13start scrolling through the names kind
2:08:15of like you've done a million times
2:08:16before. And what you're seeking out here
2:08:18is this random person of the day.
2:08:21Somebody you didn't even know why you
2:08:23picked them initially. Am I right? Go.
2:08:25>> So what's the real world context here?
2:08:27Well, first we're actually eight years
2:08:28in the past. So, I think O is
2:08:30experimenting with taking this trick to
2:08:33this metadaptive level by using the
2:08:35metadception of pre-show work. So, he's
2:08:37going to be creating essentially two
2:08:39tricks. He's started the phone trick
2:08:41with Sarah before the podcast, but
2:08:42hasn't completed it. He knows what the
2:08:44name is because he's used the two slide
2:08:46of hand moves. He's glanced at the
2:08:47phone. He's turned it off. She thinks
2:08:49she's randomly chosen the contact. I
2:08:51believe it's Joe in this case. and O's
2:08:53now just needs to uh create the trick so
2:08:56that everyone who's watching the video
2:08:58thinks that the trick is starting right
2:09:00here right now. Remember one of the
2:09:02definitions of metadception is deception
2:09:04that obscures the boundaries of the
2:09:06original deception. That's what Oz is
2:09:08using here. And so he's got to be
2:09:09careful with his language. You see he's
2:09:11talking about well I like what he does
2:09:13at the at the start. He says stand back
2:09:15so that I can't see. That really creates
2:09:16the impression that the trick is
2:09:18starting now. He then says, "The random
2:09:21person of the day," which is going to
2:09:23mean one thing to us, but to her, it's
2:09:25going to mean something entirely
2:09:27different. But his efforts get derailed
2:09:29by a uh innocent an innocent third party
2:09:33>> through. And I see you going up, going
2:09:34down, scouting, looking at this guy,
2:09:36this girl finally stopping on one
2:09:39specific person. Did you find them?
2:09:42>> Even that the little subtlety, which I
2:09:44think is more what O leans into
2:09:45nowadays, of can you find them? Can you
2:09:48find them that calls you back to the
2:09:50past?
2:09:50>> You're done with it.
2:09:51>> Is this the person from before?
2:09:52>> Yeah. Yeah. You've got somebody right in
2:09:53mind. Did you even know?
2:09:55>> And there it is. Lewis drops drops the
2:09:58secret.
2:09:59>> Is this the person from before?
2:10:00>> Yeah. Yeah. You
2:10:01>> completely unawares. Lewis is completely
2:10:03um he's tricked by the metad of
2:10:06mentalism. So he thinks O is just doing
2:10:07body language and all that kind of
2:10:09stuff. Uh so he doesn't think he's
2:10:11spoiling anything here. But look at how
2:10:12annoyed O becomes.
2:10:14>> You pick this person initially or is
2:10:15this just totally random?
2:10:16>> Totally random. Okay.
2:10:19And then put it against your stomach
2:10:20once you found them.
2:10:23>> He's going to do it again. This is the
2:10:25person that she picked before, right?
2:10:27>> Yeah. Yeah.
2:10:27>> Yeah. Yeah.
2:10:29>> Oh man.
2:10:30>> O is He's not happy about this. The
2:10:33person that she picked before, right?
2:10:35>> Yeah. Yeah.
2:10:35>> Yeah. Yeah.
2:10:36>> So, he's essentially ruined the deja vu.
2:10:39Um Lewis has now explicitly said, "Oh,
2:10:41you mean the person that's happened
2:10:43before?" And now O needs to save it. He
2:10:45needs to turn it into something else.
2:10:46So, it's interesting to see how he does
2:10:48that
2:10:48>> person that she picked before, right?
2:10:50>> Yeah. Yeah.
2:10:51>> Yeah. Yeah.
2:10:52>> Wait, when I say picked before, it's
2:10:54very important. There's no This is like
2:10:56You didn't tell anybody. This is like
2:10:57somebody you just picked out of your
2:10:58phone for no rhyme or reason.
2:11:01>> In fact, when you first looked, you
2:11:02didn't even look. You were just kind of
2:11:03scrolling at put it against your body.
2:11:06>> It's kind of interesting now that you
2:11:07know what the phone trick is to try to
2:11:10reverse engineer Oza's language to sort
2:11:12of see that it is indeed that trick that
2:11:14we've seen that he's done with Sarah.
2:11:16You know, you weren't even looking when
2:11:17you were scrolling.
2:11:18>> Tell it's a guy. Am I right about that?
2:11:20>> Yes.
2:11:21>> Now, I don't know how your phone is laid
2:11:22out. I've never seen your phone, touched
2:11:24your phone. You didn't You didn't write
2:11:25this or whisper this or anything. Like,
2:11:27right now, the only way that you have
2:11:28this information.
2:11:30>> Okay. So, this is powerful. He's got
2:11:31Sarah in this complacent state. And so,
2:11:34sometimes people, you know, you're
2:11:36telling them, you say, "Hey, yeah, I've
2:11:37seen O do the the phone trick." And he
2:11:38just like he glances at the phone and
2:11:40does this side of hand move and turns
2:11:41the screen off. Someone will say, "Oh,
2:11:43but I've seen him do the trick where he
2:11:45didn't touch the person's phone at all,
2:11:46and they even said that he didn't touch
2:11:48their phone." Which is what Sarah just
2:11:50gave O said, "I didn't touch your
2:11:52phone." It's important to try to have
2:11:54empathy for how this metadja
2:11:57vu technique is going to work on people.
2:12:00As I said before, people aren't
2:12:02magicians. And so, when O touches their
2:12:05phone, they don't recognize that when he
2:12:08grabs it for 3 seconds, they don't think
2:12:09he's doing anything suspicious. And so
2:12:12what they interpret when O says now I
2:12:13haven't touched your phone, looked at
2:12:14your phone, you've written anything
2:12:16down, what they're inferring is that I
2:12:18haven't suspiciously touched your phone.
2:12:21And in case their testimony in that
2:12:23regard doesn't matter at all because
2:12:24they're not magicians. They don't know
2:12:26what it means for a magician to
2:12:27suspiciously touch the phone. It's just
2:12:30an important thing to keep in mind.
2:12:32>> You looked in your own phone. Is that
2:12:34correct? I want to be sure.
2:12:35>> I watched this, too.
2:12:36>> And I didn't tell you go there, go
2:12:38there. You just went through your phone.
2:12:40Uh, is it a first and last name or is it
2:12:43just the first?
2:12:44>> First and last.
2:12:44>> Okay, think.
2:12:46>> So, remember the name is Joe. And just
2:12:48try to empathize with Oz's position here
2:12:50on what happens uh now and how you would
2:12:53roll with it.
2:12:54>> Many letters are in the first name.
2:12:57Don't count it with your mouth. Don't
2:12:58use your fingers. Tell me when you've
2:12:59counted it.
2:13:00>> That was instant. Lewis, I call that an
2:13:02instant read. If the name was like
2:13:03Mitchell,
2:13:04>> that's a struggle, man. Mi T. It's like,
2:13:07but if the name is really quick,
2:13:09>> like Joe,
2:13:09>> like a Dan or a Bob or a Bill. Exactly.
2:13:12Right. Then I think
2:13:14>> Wait, why did you smile?
2:13:15>> Cuz she laughed when you said one of
2:13:16those words.
2:13:17>> No.
2:13:18>> No.
2:13:18>> That was weird. She laughed at you and
2:13:20got very tense.
2:13:21>> Oh,
2:13:22>> no. BS.
2:13:24>> Did [laughter] he just read your mind?
2:13:24Is the name actually Joe?
2:13:26>> What?
2:13:27>> Dude, bring it in. SCHOOL IS GREAT. HOW
2:13:29DID YOU DO IT?
2:13:30>> SHUT UP.
2:13:31>> THE TENSION. I didn't even read her mind
2:13:32yet. I was just getting there.
2:13:33[laughter] But she she got very tight
2:13:35and tried to look not serious and then
2:13:36she looked at you right after. Wait, go
2:13:38to his last name.
2:13:39>> Louis is really the star of that clip.
2:13:42That's all you need to see from this
2:13:43one.
2:13:44So now we understand how O can take a
2:13:46magic trick like the phone trick or
2:13:48anything else and completely hide it
2:13:50from us using pre-show and dual reality
2:13:52metad. At that level of metadata, Oza's
2:13:55goal is to create the most imperceptible
2:13:57links possible between his target's
2:13:59mind, the podcast host or guest, and the
2:14:02magic trick that he's performed with
2:14:03them before the show, the slide of hand
2:14:05or gimmick he's had them use to get that
2:14:07word or phrase. And so the more subtly
2:14:09he can remind them of that interaction,
2:14:11then the greater the chances that we as
2:14:13viewers aren't going to catch on to what
2:14:15he's doing and the deeper we're going to
2:14:17fall into the metad of mentalism and
2:14:19believe that Oz is genuinely figuring
2:14:21out these words right then and there on
2:14:23the show. And that's where the host
2:14:25reaction is so key because they don't
2:14:28understand that there was slight of hand
2:14:29or gimmicks used. And so their reactions
2:14:31of amazement are genuine and they
2:14:33function as effective misdirection away
2:14:35from the only alternative explanation to
2:14:37mentalism that the hosts are in on it.
2:14:39And you see the hosts are in on it. They
2:14:41just don't realize they're in on it.
2:14:43Which is why this metad tactic is so
2:14:45powerful and why O uses it all the time.
2:14:48So let's look out for those
2:14:49inconspicuous links as we go back to
2:14:52flagrant.
2:14:54>> I have the sensation.
2:14:56Let me ask you where your phone rings.
2:14:59Your phone rings and you don't you
2:15:02vibrate and you're not expecting a call
2:15:04from this person. This isn't like your
2:15:05wife told you,
2:15:06>> but you somehow know who it is. Have you
2:15:08had that distinct feeling or never?
2:15:10>> Yeah.
2:15:11>> This is clever because he can have a
2:15:12natural conversation with Mark because
2:15:14he hasn't engaged in any kind of
2:15:15pre-show with Mark using this story.
2:15:17What I think Oz has done is he's done
2:15:18the phone trick and then after doing the
2:15:20phone trick instead of revealing the
2:15:21name he simply just asks the person to
2:15:23imagine that that that person is calling
2:15:25them and that gives him a an anchor to
2:15:28call back to now. So Andrew should be
2:15:31getting signals, right? This is that
2:15:33inconspicuous link before to the magic
2:15:35trick that he's done with Andrew before
2:15:37the show.
2:15:37>> You have not and I said imagine a deja
2:15:40vu moment where [laughter] you somehow
2:15:44get a call and you feel it. You didn't
2:15:45expect to have vibrate and you pick
2:15:47somebody at random and the phone's
2:15:49calling right now. Grab out your phone.
2:15:51>> Okay. Yeah.
2:15:52>> Yeah. Go to your contacts, please.
2:15:53>> Okay. Yeah. Yep.
2:15:54>> Where are you right now? At the front.
2:15:55At the top.
2:15:55>> Very top. Very top.
2:15:56>> So, I said to you to imagine as if you
2:15:58were getting a call from one person.
2:16:00>> Okay. So, what's clever, I think, about
2:16:01using this strategy as opposed to what
2:16:03we saw him do with um Sarah on
2:16:06Louiswis's show is that, you know,
2:16:08before he was trying to more explicitly
2:16:10refer to things that we could reverse
2:16:12engineer and figure out that he was
2:16:13using the phone trick, you know, talking
2:16:15about randomly scrolling names and not
2:16:17even looking and things like that by
2:16:19tagging on this. Now, imagine that the
2:16:20person is calling you. It can seem like
2:16:22a whole different conversation. Super
2:16:24clever.
2:16:25>> Is that right?
2:16:25>> Yeah. Go to that person. Scroll through.
2:16:28>> And again, there's that camera edit.
2:16:30>> Find them and hide it close to you.
2:16:32>> Okay,
2:16:32>> this was picked completely at random.
2:16:34This is totally random person. Scroll
2:16:36through.
2:16:36>> In fact, I'm inclined to think that the
2:16:38strategy that O was using probably
2:16:41wasn't successful. It wasn't it wasn't
2:16:43triggering Andrew to go back or that he
2:16:45said something that broke that metad.
2:16:48And that's why they had to edit it out.
2:16:49And that's why now we see O's say
2:16:51something more explicit such as the fact
2:16:53that he chose them randomly
2:16:55>> through.
2:16:55>> Yeah.
2:16:56>> And I want you to find them. But before
2:16:57you open it up,
2:17:01>> do you know this person's phone number
2:17:03by heart? Not by heart.
2:17:04>> Nobody knows anybody's phone number. Am
2:17:05I right? How many people's phone numbers
2:17:06do you know?
2:17:08>> Oh, wow. [laughter]
2:17:12>> Okay.
2:17:15>> Say it one more time. [laughter] All
2:17:17right, Mark. Pick up any one of those
2:17:21piles. Pick up any one of those piles.
2:17:23Put it in your hand
2:17:24>> and I want you to put your fingers on
2:17:26the back where nothing can touch it.
2:17:30>> All right, here's crazy.
2:17:32>> So, the only thing we need to think
2:17:33about now is, you know, we we know that
2:17:35O has done the deck switch. How is he
2:17:37going to get those numbers to line up
2:17:39with the phone number that Andrew chose?
2:17:40Everything that we've seen from the TR
2:17:42from the phone trick so far just kind of
2:17:44looks like O is just getting a peek at
2:17:46the contact, but it's not really super
2:17:48necessary that any specific contact is
2:17:50chosen because he's just trying to show
2:17:52off the ability that he can um read them
2:17:55to figure out what that contact was. In
2:17:57this case, if he's doing that trick with
2:18:00Andrew, which he almost certainly is, it
2:18:02can't just be a random contact that he
2:18:04goes to. It's got to be the contact that
2:18:06he has prepared with the first uh band
2:18:08of bills where you know the serial
2:18:10numbers are going to line up with this
2:18:12phone number. And so the only
2:18:14modification O needs to make and I think
2:18:15if you understand how talented Oz is as
2:18:18a magician and how much experience he
2:18:19has is he just needs to know that Andrew
2:18:21has this certain contact in his phone. I
2:18:24don't think that's too hard to figure
2:18:25out. And then he just needs to use slide
2:18:27of hand as he's you know as he's
2:18:29scrolling through the phone when he
2:18:31takes it off Andrew. He's just got to
2:18:33make sure that the contact that he lands
2:18:34on is this contact who has the initials
2:18:37SB. That's really the only thing he's
2:18:39got to do. Now, yeah, that does make it
2:18:41a little bit more difficult, but I don't
2:18:42think it's outside the bounds of what a
2:18:44magician could accomplish.
2:18:46You could have picked anybody in your
2:18:48whole phone. You could have picked
2:18:49anybody. I did not say to you who it
2:18:51was. You went through, scrolled, you're
2:18:54like, imagine this person calling you.
2:18:56Don't give us the area code because then
2:18:59we'll know who it did. I don't I don't
2:19:00want them get blown up. But tell us one
2:19:02digit at a time. You each shuffle these
2:19:04cards up. I have not touched anything.
2:19:06Tell us all one digit at a time their
2:19:08phone number. Start with the first
2:19:09digit, not the area code. The first
2:19:10digit of this person's phone number.
2:19:11>> I believe this, too.
2:19:12>> Okay.
2:19:13>> Now, you could do it cuz we're not going
2:19:14to say the area code. What's the first
2:19:15number of their phone number?
2:19:18>> Lift up your finger, please.
2:19:22>> What's the next number?
2:19:29>> This is [ __ ] crazy. Going
2:19:33>> one.
2:19:35>> There's no one. So, how about an ace?
2:19:36Keep going fast. What else we got?
2:19:38>> Six.
2:19:38>> Six.
2:19:39>> Seven.
2:19:40>> Seven.
2:19:40>> Eight.
2:19:41>> Eight.
2:19:43[laughter] There are $200. There are
2:19:46$200 littered around here. $200 littered
2:19:49around here. And I want you to see every
2:19:50single one of them was printed
2:19:52somewhere. And how do we know they're
2:19:53real? Because the government puts serial
2:19:55numbers on them. You're sitting on one.
2:19:56You picked anyone out. And that's great
2:19:58as well that O's can actually uh set up
2:20:00for that shot by picking up a dollar
2:20:02bill and showing it. Remember the the
2:20:04second pile of dollar bills that he
2:20:05throws are all going to have different
2:20:07serial numbers on them. And it's for
2:20:08that reason. Well, I mean that's one of
2:20:10the reasons he can lean into now. He can
2:20:11just pick it up, show it, and if I could
2:20:13be bothered, maybe I will in edit uh
2:20:16show that, you know, that has a serial
2:20:17number that doesn't line up with um the
2:20:19serial number that's being revealed.
2:20:21>> Do me a favor and I want you to read us
2:20:23one digit at a time the serial number of
2:20:26the bill you picked up. One digit at a
2:20:27time. Please go for me.
2:20:30>> One, six,
2:20:31>> six, seven, eight. [laughter]
2:20:35>> Hey, wait, wait. Tell us all. Tell us
2:20:37all this person. This person who you
2:20:39thought of out of your whole phone, what
2:20:40are their initials? What are their
2:20:41initials? First and last initials.
2:20:43>> Oh [ __ ] Hold the [ __ ] What are the
2:20:45What are the two letters on the bill?
2:20:48>> Phone, [laughter] dude.
2:20:49>> That's the craziest [ __ ] I ever seen in
2:20:51my life.
2:20:53>> That's the craziest [ __ ] I've ever seen
2:20:54in my life.
2:20:56Holy [ __ ] [laughter]
2:20:59>> that's crazy.
2:21:00>> Oh god. Let me see that.
2:21:01>> This the craziest [ __ ] I ever seen in my
2:21:03life.
2:21:09>> So now Oz has had his time. Remember? I
2:21:11want to bring you back. We've covered so
2:21:13much. Bring you back to sort of where we
2:21:15are. Remember he sent Alex out into the
2:21:18other room to choose a random book,
2:21:20random page, choose any word on the
2:21:21page. And he's done that in response to
2:21:24Andrew's skepticism. Now, I think Andrew
2:21:25has really dialed back his skepticism. I
2:21:28think like you imagine how much, you
2:21:30know, Andrew could be leaning into this
2:21:31here, and I don't think he wants to do
2:21:33that anymore. Um, it's now a matter of
2:21:37O's getting Alex back into the game. How
2:21:39can he get Alex to use that gimmick so
2:21:41that he can get that word and satisfy
2:21:44Andrew's skepticism, shut it down once
2:21:46and for all?
2:21:47>> Is it Is it rude if if there is a
2:21:49deliberate effort to try to guess it or
2:21:51>> No, I don't think he minds. It's like
2:21:53>> that's what I'm conflicted by. It's like
2:21:54I don't
2:21:56>> Yes, he is conflicted.
2:21:57>> I usually do it not when I'm present.
2:21:59>> I think the [ __ ] is the one who
2:22:01doesn't like this was kind of small,
2:22:03>> but uh you can go for it. I'm not going
2:22:05to assess.
2:22:06>> That was [ __ ] unbelievable.
2:22:08>> That is really impressive.
2:22:13>> Come on.
2:22:14>> Wait, wait. Here we go. Here we go.
2:22:15>> All right.
2:22:16>> We had We had I want to get your staff
2:22:18involved. We had a lot of people in here
2:22:20who were here when we got here. Tell me
2:22:23seemed really nice. Who else was there?
2:22:24>> Has ever been on air?
2:22:26>> Uh, briefly. Yes.
2:22:28>> Get her in here. Let's do it.
2:22:30>> It's a It's a hindered thing. We can't
2:22:31just leave it on the ground.
2:22:32>> I'm making you go outside before Kiana
2:22:34comes in.
2:22:34>> Disrespectful.
2:22:35>> We're We're We're swapping. Do this.
2:22:37Alex, come on over.
2:22:38>> This is clever. You know, he's obviously
2:22:40interacted with a bunch of other staff
2:22:41before the show, and now he's going to
2:22:43bring them in for the grand finale. Uh
2:22:46but also he's going to use this little
2:22:47interim that has been created while he
2:22:50asks for a staff member to come in. It's
2:22:53just brilliant timing and pacing. Uh now
2:22:56is the time that he can get Alex up out
2:22:58of his chair, get him outside away from
2:23:00the eyes of everyone else and uh justify
2:23:02this gimmick use.
2:23:05>> I want you to grab one more thing for
2:23:06me. Can I wait? Can I come right back in
2:23:07a sec?
2:23:08>> Yeah, you do it every
2:23:09>> There it is. That I want you to do one
2:23:11more thing for me. That's a good little
2:23:12justification cuz he needs one. You You
2:23:14can't just like take Alex outside
2:23:16without it looking suspicious. Although
2:23:18I think you would agree it does look a
2:23:19little suspicious.
2:23:20>> Come on in. Follow him with the camera.
2:23:23So
2:23:23>> jot down.
2:23:24>> Andrew calling out with the camera
2:23:26request.
2:23:26>> The page number.
2:23:28>> Got it.
2:23:28>> Wait till I'm going. Go fast. You got 10
2:23:30seconds.
2:23:33>> Okay. Some interesting things uh that
2:23:35just happened here. We can see Alex
2:23:37using a gimmick notepad. Uh mentalists
2:23:40will use notepads like this. There's a
2:23:42whole variety of different notepads that
2:23:44they can use that range in terms of uh
2:23:46their dollar value. You can get
2:23:48multi,000 uh impression I think that's
2:23:51what they call impression pads uh like
2:23:53this ones that will uh connect via
2:23:55Bluetooth to the magician's phone. Has
2:23:56all this electronics hidden in the in
2:23:58the wood of the the notepad, the backing
2:24:00of the notepad and just detects the the
2:24:03pen's pressure and sends an image of
2:24:04that to the magician's phone. Then there
2:24:06are cheaper impression pads which will
2:24:08lose use um you know hidden um transfer
2:24:11paper and things like that to transfer
2:24:14the paper the what's written in an
2:24:16invisible way to the page underneath uh
2:24:18in a way that people don't uh obviously
2:24:20detect. Now the misdirection is that
2:24:22they are completely free to tear the
2:24:24page out and keep it with them. Uh, but
2:24:26let's talk more specifically about how O
2:24:29is going to use this in a way that isn't
2:24:31going to well, he's he's trying to not
2:24:33get caught out by Andrew's skepticism.
2:24:35Remember, he's been trying to think of
2:24:37how to do this. So, he can't just take
2:24:38him out and say, "Here, here's my
2:24:39notepad. Write the write the word that
2:24:41you chose from the book. Write it in the
2:24:43notepad." He can't say that. So, what he
2:24:46has done is he's asked him to write the
2:24:47page number. And then we see a camera
2:24:48edit.
2:24:50>> Come on in. Follow him with the camera.
2:24:52So, I want you jot down the page number.
2:24:55Got it.
2:24:56>> Boom. Right there. Page number. Boom.
2:24:58Camera edit. Now, we'll see later that
2:25:01what O is actually asking him to write
2:25:04down is the page number, the author's
2:25:06name, uh the word that he chose, a
2:25:09random word that he's going to make up
2:25:11on the spot, the word fart that is is
2:25:13the word that Alex chooses. And I think
2:25:15how this would have been set up is that
2:25:18he's actually asked Alex to write the
2:25:21page number on one page of the notepad,
2:25:23then tear that out and keep it separate
2:25:25and then write these other things on
2:25:26another page. And that's because Oz is
2:25:28going to try to use the page number uh
2:25:30for the basis of another trick that he's
2:25:32going to perform out there on the couch
2:25:34with everyone uh with the cash actually.
2:25:37And that functions as a kind of
2:25:39justification uh for taking Alex outside
2:25:42and using the notepad in the first
2:25:44place. The the notepad isn't just
2:25:46something that sits in the background,
2:25:47which is what it normally would be if O
2:25:49uses it in terms of that pre-show dual
2:25:52reality metad like we were talking about
2:25:54before. Get someone to write something
2:25:55in a notepad and then use those
2:25:57inconspicuous links to get them to
2:25:59remember that and then you know do the
2:26:01mentalism metading
2:26:03it out. In this case, um, he needs to
2:26:06justify the notepad in a way that is
2:26:08conspicuous. He needs people to know
2:26:11that he asked Alex to write in the
2:26:13notepad, but he needs to give an
2:26:14innocent reason so that we don't become
2:26:16suspicious. Unfortunately, it all falls
2:26:18flat anyway, and you'll see what I mean.
2:26:20>> Wait till I'm gone. Go fast. You got 10
2:26:22seconds.
2:26:25>> Come back. Have a seat for me.
2:26:32[snorts] Hiding. Hiding. Hiding.
2:26:34[laughter] just knocking.
2:26:35>> Alex was told to think of to write down
2:26:38I said write down what page you went to
2:26:40in the book. Is that correct?
2:26:41>> Yes.
2:26:41>> Yeah. Hold on. You had picked the page
2:26:44number earlier was 138.
2:26:46>> Mhm.
2:26:46>> But you said maybe I've gone through the
2:26:48book, but we know it's pre-release. So I
2:26:50couldn't know what book this is,
2:26:52>> but you've written down the page number.
2:26:53So if you gave that note to him, he
2:26:55could go to that page and what are the
2:26:56odds he picks the same word? What do you
2:26:57think are the odds he picks the same
2:26:58word if he
2:26:59>> So you see the point? He gets Alex to
2:27:00write just the page number down on one
2:27:02page. And I should say I think actually
2:27:04Oza's metam mind has gone further just
2:27:06like with the cards where he is keeping
2:27:08in mind the three piles. He's keeping in
2:27:10mind the viewers perspective so that
2:27:12when they do the deck switch he's also
2:27:13thinking about the camera edit that can
2:27:15happen. He's also you know even keeping
2:27:17that in mind when he's going out and and
2:27:20knows that he's being followed with the
2:27:21cameras and and the first thing he asks
2:27:23uh Alex to do is to write down that page
2:27:25number. He knows that all that is going
2:27:27to be recorded. So he's not only trying
2:27:29to give a justification for the boys
2:27:31here, but also for us at home cuz he
2:27:34knows that that's going to be included.
2:27:35So Oz is, you know, as you can see, he's
2:27:38trying to think on many different layers
2:27:39of perception here.
2:27:40>> Even knew the page.
2:27:41>> It's probably high.
2:27:42>> Really?
2:27:43>> Mhm.
2:27:44>> How could that be? Aren't there a ton of
2:27:45words? You
2:27:46>> And just like that, Alex derails Oza's
2:27:49whole plan. I'll replay it for you so
2:27:50you can understand what he's trying to
2:27:52do.
2:27:53>> He could go to that page and what are
2:27:54the odds he picks the same word? What do
2:27:55you think are the odds he picks the same
2:27:56word? If he even knew the page,
2:27:58>> it's probably high.
2:27:59>> Really?
2:28:00>> Mhm.
2:28:00>> How could that be? Aren't there a ton of
2:28:01words? You take the note. Forget it.
2:28:04You're not dumb ass. One word on it.
2:28:06>> Rip the note up.
2:28:09>> Take Take the note. Rip it into shreds.
2:28:11>> Rip the
2:28:12>> Yeah, cuz I was going to let you show to
2:28:13him, but I thought you say no way would
2:28:14he pick the same word. Rip it up.
2:28:15>> So O needs to adapt now at this point.
2:28:17Now there's no point to having that
2:28:19written on a separate uh piece of paper.
2:28:21>> Rip it up.
2:28:22>> All right.
2:28:25[laughter]
2:28:26And full transparency, I said, "Make up
2:28:29a word out of your mind that wasn't in
2:28:30the book that just came to you." Is that
2:28:32correct? Yes.
2:28:32>> That's written up there, too. Throw it
2:28:34away.
2:28:35>> So, now we're done. Now, I I I thought
2:28:36we'd like
2:28:37>> So, now we can see this is the
2:28:38verification of what I was saying
2:28:39before. He says full transparency, which
2:28:41is a good indicator that he is not being
2:28:43fully transparent, but he reveals that
2:28:45he's asked Alex to write down a
2:28:46completely random word that he just
2:28:47makes up in his mind. We never saw that.
2:28:50That was edited out from when he, you
2:28:52know, took him outside the room and
2:28:53asked him to write the notepad
2:28:54>> at the camera. So, we jot down the page
2:28:57number.
2:28:58>> Got it.
2:28:58>> Boom. Right there. Page number. Boom.
2:29:01Camera edit. And so, because we saw that
2:29:03that was taken out, uh, we have a pretty
2:29:05good reason to believe that he asked him
2:29:07to write down a whole bunch of other
2:29:08things as well.
2:29:09>> You go to the same page and see if
2:29:10somehow your mind's connected.
2:29:12>> But no, now they said freaking only word
2:29:15on the page.
2:29:15>> It would have been interesting to see
2:29:16what kind of trick O had planned there.
2:29:18But, I mean, you know, you got to be
2:29:20able to let go of your babies, you know.
2:29:23Look behind you at how many pages are in
2:29:25the book. I won't look. Look at how many
2:29:26pages are in the book.
2:29:28>> Okay.
2:29:28>> Is it between 280 and 350?
2:29:30>> No.
2:29:31>> Oh, good outlier. Probably went with
2:29:33less. Probably went with less. Hide the
2:29:34book. Hide the book.
2:29:35>> Why you hidden?
2:29:36>> He would choose that book cuz he
2:29:37>> I think he probably did a smaller book.
2:29:38Try to screw with me.
2:29:41You picked any book. You challenged me.
2:29:43You went and got any book. Is that
2:29:44correct?
2:29:45>> Yes.
2:29:45>> Any book. [laughter]
2:29:47>> You went to any page. Oh,
2:29:48>> you picked any word and you look stiff
2:29:51AF right now
2:29:52>> and you thought of a word. I'm never
2:29:54going to get the word that was in the
2:29:55book. That's impossible. We know that
2:29:56Andrew's already figured it out. But how
2:29:58could I get all this other stuff?
2:30:00>> So, just to be clear here, uh that is
2:30:02O's using his, you know, false sense of
2:30:05security again. He's trying to build to
2:30:07that word as the grand finale. But
2:30:09because this whole intermediate trick
2:30:11with a kach, you know, where he was
2:30:12going to give the the um the page from
2:30:15the notepad to a kach and he was going
2:30:16to try to maybe guess because that all
2:30:18fell flat. U he's just essentially now
2:30:21just having to reveal every little piece
2:30:23of information straight from Alex. So
2:30:25it's a little overwhelming and it kind
2:30:27of gets confusing I think for everyone
2:30:28else.
2:30:31>> [ __ ]
2:30:31>> Charlemagne the God. Is that who the
2:30:33person wrote the book?
2:30:33>> Yes.
2:30:34>> You picked the easiest [ __ ] in the
2:30:35world. Yo, what the [ __ ] are you doing?
2:30:3891. Is it page 91?
2:30:42>> Yes. [laughter]
2:30:43>> And then I was thinking of a word.
2:30:46>> Yeah.
2:30:47>> But he also looks like he's trying to
2:30:48hold something. He's trying to hold in a
2:30:49fart. Were you thinking of the word
2:30:50fart?
2:30:51>> Get the [laughter]
2:30:54>> And then the ultimate. You ready? We go
2:30:57>> through his eyes. Imagine I go through
2:30:58his eyes. We could see him walking out
2:31:00there picking any book out of the shelf.
2:31:02Nothing written, nothing. Nothing. Just
2:31:04taking a book, flipping it over. And you
2:31:05said, "Well, maybe I saw that book
2:31:07before." Boom. Step one. I couldn't have
2:31:09seen this book before. You just picked
2:31:10anyone. Is that right? Was anything set
2:31:12up before this moment.
2:31:14>> I didn't pick the page. You picked page.
2:31:16>> That's another good example. You know,
2:31:17he can turn to someone and say nothing
2:31:18was set up before this moment. Well, we
2:31:20just saw that there was something set
2:31:22up. He took him outside and got him to
2:31:23use a gimmick's notepad. But from Alex's
2:31:25point of view, that's completely
2:31:27irrelevant. Like when he's when when
2:31:29people have bought into the metad, this
2:31:31is the powerful thing. You know, when
2:31:32people go when O goes on people's shows,
2:31:34they believe that he can do this whole
2:31:36mentalism thing.
2:31:38>> It seems like you are, I mean, to
2:31:40simplify,
2:31:42extremely perceptive about other people.
2:31:45Like you're picking up cues that maybe
2:31:46to you seem like they could be picked up
2:31:49by a lot of people, but your ability, at
2:31:51least the way you're describing it, to
2:31:53to read people really, really quickly is
2:31:55astounding. And so that just completely
2:31:58disarms them when it comes to him using
2:32:00magic tricks that would fool, you know,
2:32:02people who aren't even metad already.
2:32:05>> So think of all the letters in the
2:32:06words. Count the number of letters to
2:32:08yourself. Just did what you did. Watch.
2:32:11He's quick though. He's quicker than
2:32:12you. For the record, this guy's a
2:32:13businessman.
2:32:15>> You counted quick. Same way he did it.
2:32:18Three drums. Like three three beats. Do
2:32:20you know what I mean? Two, three beats.
2:32:21Six letters. Six letters.
2:32:22>> Yes.
2:32:23>> Yeah. You did exactly what he did when
2:32:24he Jordan. He's still thinking about
2:32:25Jordan, by the [laughter] way.
2:32:28>> Stop breaking out.
2:32:29>> I told him he thought of the letter D
2:32:31earlier, remember? And he said, "No, I
2:32:32thought of the A." And I said, "I could
2:32:33tell when you switched from the D to the
2:32:35A." Think of a letter in your word. See,
2:32:37you just did the same thing. I said D,
2:32:39so you thought of D. You went to R.
2:32:40Older people. Elders was the word you
2:32:42picked.
2:32:42>> [ __ ] Yeah. Yeah.
2:32:47Where did you pick that word from?
2:32:48>> No, it was on the page.
2:32:50>> Show them the book.
2:32:53>> Breakfast. Tell them I'm on I'm on their
2:32:55next baby.
2:32:57>> That reaction that you get from Andrew
2:32:58where he just [ __ ]
2:32:59>> all the breakfast club.
2:33:02>> It's kind of I I think with all due
2:33:04respect to O's, I think just doing sort
2:33:06of four reveals straight after the
2:33:08straight after each other like that, you
2:33:09know, page number, author's name, uh
2:33:12random word that you thought of, now the
2:33:13word that you chose in the book. It's
2:33:15kind of like the same trick over and
2:33:16over again. Now, that wasn't Oza's plan,
2:33:19but there's only so much that people can
2:33:21just sort of give this like mind-blowing
2:33:22reaction for
2:33:25>> page 91. Listen to Elders, bro.
2:33:28>> Wild.
2:33:31>> All right.
2:33:31>> Where's the Where did Fors come from?
2:33:32>> Yeah. Where?
2:33:33>> No, he told me to pick a random word
2:33:34outside. Just a random word.
2:33:36>> Where's Where's Where's
2:33:36>> I was going to write the N word, but I
2:33:38didn't want to get you catching,
2:33:39[laughter]
2:33:40>> dude. Um, wow. As Alex is good at
2:33:43complying.
2:33:44>> Yeah.
2:33:44>> Maybe we should teach the cops
2:33:45mentalism.
2:33:46>> Yeah.
2:33:47[laughter]
2:33:49WE'RE GOING TO LA NEXT.
2:33:50>> THERE'S A PART OF me that really hopes
2:33:51that that is uh Andrew using a kind of
2:33:54double on tandra to wink at O that he
2:33:57understands how that trick was done and
2:34:00that ultimately yeah, Alex is good at
2:34:02complying without asking too many
2:34:04questions. When it comes to
2:34:05metadception, Oz's trusty notepad is
2:34:08probably his single most powerful
2:34:10gimmick. Although I think it has some
2:34:11serious contenders which we're gonna
2:34:13look at right now actually. But the
2:34:15notepad gets him out of trouble like it
2:34:17did with Alex, you know, in the middle
2:34:18of the show on Flare Grant, which we're
2:34:19going to come back to for the grand
2:34:20finale, by the way. But the notepad, you
2:34:23know, it really shines before the show.
2:34:25If you're using say dual reality
2:34:27pre-show metad, the notepad does
2:34:30something that an ordinary magic trick
2:34:31like the phone trick can't, and that is
2:34:34that there's just no chance that writing
2:34:36in a notepad seems like a magic trick at
2:34:38all. That's just a completely normal
2:34:40everyday thing. And so if you can give
2:34:42people a good reason, such as you're a
2:34:44world famous mentalist who reads
2:34:46people's body language to think of, you
2:34:48know, secret words and phrases from
2:34:49their childhood, and sometimes, you
2:34:52know, people could try to sabotage you
2:34:53by saying that you got it wrong. So if
2:34:55they write it down in a notepad and tear
2:34:57it out and keep it in their pocket, well
2:34:58then that's just kind of a good way to
2:35:00prove that O's got it wrong if he does.
2:35:02And yet that's the very method by which
2:35:04he gets the information that he's later
2:35:06going to pretend to figure out. I mean
2:35:09that's just a bulletproof absolutely
2:35:11genius way of getting the information
2:35:13every time and it's going to completely
2:35:15fly under the radar because it doesn't
2:35:17even smell like a magic trick. Now we
2:35:20don't have any camera footage of O
2:35:22actually giving that kind of reason but
2:35:24we do have footage of people revealing
2:35:26that he asked them to write things down
2:35:28in a notepad. We were obviously very
2:35:30excited to have you on and we didn't
2:35:32know what to expect. We know you
2:35:33obviously you've been doing a big act
2:35:35for a long time. So, you're going to
2:35:36come here and talk a whole bunch. When
2:35:37you walked into the room, it took you
2:35:39five seconds to start playing with our
2:35:41heads.
2:35:41>> Start sizing everybody up.
2:35:42>> Sizing everybody up. You had Will do a
2:35:44few things. You had me write down a card
2:35:46and a question. And then I actually
2:35:48ripped it up and put it in two separate
2:35:49pockets. Messing with my boy Jackie over
2:35:51here in the corner. Did anybody else
2:35:52>> Everybody
2:35:53>> get owed?
2:35:54>> No, nobody's been owed yet.
2:35:55>> Yeah,
2:35:56>> we're just planting.
2:35:56>> You've already You've already done it.
2:35:58Is it you
2:35:58>> planting seeds? Uh yeah, that's what Oza
2:36:01has been doing. Planting seeds. Three
2:36:02things that I noticed there is one, you
2:36:04know, Taylor says that it takes us all
2:36:06of 5 seconds to get started. Makes
2:36:07sense. You know, he's using metad. He's
2:36:09got this mentalist, you know, cover
2:36:11story to uh really sell. And so there's
2:36:13no time for a genuine sit down and get
2:36:14to know you. He's at work all the time.
2:36:17Uh so yeah, he gets right into it. Uh
2:36:19Taylor has no idea that when he writes
2:36:21things in Oz's notepad that that is the
2:36:23exact means by which Oz is getting the
2:36:25information. And that's important.
2:36:27Again, hosts are not magicians. Uh, and
2:36:29if he can do that in a super in a in a
2:36:31charismatic way, although it looks like
2:36:32here he's doing it in a very sort of
2:36:34fast-paced and dominant way, Taylor does
2:36:36it. He rips up the the piece of paper
2:36:38cuz he thinks, you know, O's can't be on
2:36:40his trail if he does something like
2:36:41that. Puts it in two separate pockets.
2:36:42Makes no difference. We'll come back to
2:36:44that later because it's interesting. Uh,
2:36:46you know, what did he say? The um
2:36:48playing card and then a question. Uh, so
2:36:51I'll probably actually just edit in uh
2:36:54after this, you know, what O does with
2:36:56with those pieces of information because
2:36:57it's kind of interesting. And then the
2:36:58third thing I noticed is that he's just
2:37:00interacting with everyone, you know, not
2:37:01just the people on the on the podcast
2:37:03itself, but people in the behind the
2:37:04scenes. And that sets it up so that
2:37:06because he's set up all these dual
2:37:08reality pre-show metads, then when he's
2:37:11on the show, he can just say things
2:37:13like, "Hey, can you uh get like didn't I
2:37:15meet the guy at Dan?" Like, Fred, why
2:37:16don't you bring him bring him in here
2:37:18and we'll do something with him. He
2:37:19actually uses that as a clever tactic to
2:37:22uh get out of a um a request that these
2:37:25boys intelligently set up. You know,
2:37:27they write some numbers that the closest
2:37:29to this is the closest that we have to
2:37:31the cast tonight show. They wrote some
2:37:34numbers in an envelope and sealed it
2:37:36ahead of time and asked O to see if he
2:37:39could tell them what those numbers were.
2:37:40>> Do you have the Who has the envelope?
2:37:42>> We have Yeah, we have an envelope where
2:37:43we had three numbers and our thought was
2:37:45like you'd be able to guess what our
2:37:46numbers are.
2:37:47>> Who Who's not in this? I got an idea.
2:37:49Who's not even in this room right now
2:37:51that's associated with the show?
2:37:52>> Stephen and Alex.
2:37:53>> Yeah.
2:37:53>> Bring them in.
2:37:54>> Coup. Yeah. You want me to get them?
2:37:56>> One or two of them.
2:37:58>> O just slips out of that one. So Tay has
2:38:00told us that O has got him to write some
2:38:02stuff down. Let's see how O uses that in
2:38:04the show.
2:38:05>> Your eyes. Close your eyes. Keep them
2:38:07closed. And don't open them. Don't open
2:38:09them.
2:38:09>> I want to open them so bad.
2:38:11>> Invisible deck had you think of any card
2:38:14random. Just random. Shuffle them up.
2:38:15Plucked it out of the middle. Don't open
2:38:17your eyes, but tell us what is the
2:38:19invisible.
2:38:20>> So, I think that that idea of like this
2:38:22the invisible deck and plucking a card
2:38:24out of the middle that would have had
2:38:25something to do with the conversation
2:38:27that O would have had with Tay before
2:38:29the show, you know, when he gets him to
2:38:31write down the card in his notepad. It
2:38:33would have been some sort of
2:38:34conversation about an invisible card.
2:38:36And so, he's trying to use that as one
2:38:38of those inconspicuous links to cast
2:38:40Tay's mind back to that moment in that
2:38:42card and uh see what happens.
2:38:44>> Card your imagine your hand. Say it.
2:38:46Seven of clubs.
2:38:46>> Now, let me ask you a question. I love
2:38:47this. I love this moment
2:38:50>> because it's exactly what I did with
2:38:52Jack where he changed mind in the middle
2:38:53and he wasn't sure. And I can always get
2:38:54the thought in the front of your head,
2:38:55but the one in the back. What was that
2:38:57first card you thought of and you go,
2:38:58"No one's going to get this one. There's
2:38:59nobody's going to get it." What was that
2:39:00card? Tell us the first one. What was
2:39:01it?
2:39:01>> Wait, wait, before we get
2:39:02>> Yeah. Yeah. Yeah. Tell us. Yes.
2:39:03>> Queen of diamonds.
2:39:04>> Turn around. Take a look. The queen.
2:39:05Turn around. Take a look at it.
2:39:07>> Get out of here, dude.
2:39:09>> And so you can appreciate a few things
2:39:10here. listen to like the way that O
2:39:14rescues uh when those links don't work.
2:39:17You know, in this case, Taylor is either
2:39:18testing him and coming up with a new
2:39:20card sort of on the spot and he knows
2:39:21he's deliberately kind of rebelling
2:39:23against Oz's instructions or uh he just
2:39:26didn't he just didn't understand that O
2:39:28was trying to bring him back to that
2:39:29card that he'd written in the notepad
2:39:30before the show. But look at the
2:39:33explicit word choices that O is using.
2:39:36So that from the viewer's standpoint,
2:39:39this kind of looks like Tay maybe
2:39:40changed his mind in the last second and
2:39:42Oz is just going to that card that was
2:39:44sort of 10, 20, 30 seconds earlier. It's
2:39:47so carefully chosen and so clever
2:39:49>> because it's exactly what I did with
2:39:51Jack where he changed mine in the
2:39:52middle. He wasn't sure. And I can always
2:39:53get the thought in the front of your
2:39:54head, but the one in the back,
2:39:55>> the front of your head, the one in the
2:39:57back of your head. You can see again now
2:39:59he's got to use even more inconspicuous
2:40:01links to bring Taye's mind back.
2:40:03>> What was that first card you thought of
2:40:04and you go, "No one's going to get this
2:40:05one. There's no way he's going to get.
2:40:06What was that card? Tell us the first
2:40:07one. What was it?
2:40:08>> Wait, before we get
2:40:09>> Yeah. Yeah. Yeah. Tell us. Yes.
2:40:10>> And of course has to talk over him
2:40:11because he's breaking the dual reality
2:40:14metad
2:40:16before the show.
2:40:17>> You had Will do a few things. You had me
2:40:18write down a card and a question.
2:40:20>> He wants people to sell themselves on
2:40:23their own on their own sort of
2:40:24misdirection that he's he's uh he's
2:40:27getting a card that was maybe thought of
2:40:28maybe 20 30 seconds ago. You know, this
2:40:30is a last minute change that Tay has
2:40:31made. Super powerful effect. Look at
2:40:34what happens though with uh the other
2:40:36piece of information which is the the
2:40:38other thing that he wrote down on the
2:40:39notepad.
2:40:39>> The letters are starting to melt away.
2:40:42It looks like more of those letters
2:40:44starting to melt away until only thing
2:40:46left. What does that say?
2:40:48>> Flower. That's the name of dog.
2:40:51[laughter]
2:40:52>> That's the name of the dog. And I wrote
2:40:53it down.
2:40:54>> Flower. Keep it.
2:40:54>> Yeah.
2:40:56>> Are you serious,
2:40:57>> dude? Look at [laughter]
2:41:00way more than I expected it to be.
2:41:03Oh my god,
2:41:05look at O's face. Oh my god, look at O.
2:41:09He's just watching in absolute horror as
2:41:13this guy shatters any kind of
2:41:15misconception that there was no funny
2:41:17business before the show. Literally,
2:41:20quite literally shattering it in as many
2:41:22pieces as the freaking notepad that he's
2:41:25written on. Oh my goodness.
2:41:28[laughter]
2:41:31I always work so hard to hide the fact
2:41:34that there's no pre-show.
2:41:36>> I swear to God the dog's name was
2:41:38Flower.
2:41:40>> No, it's their mission. It's their
2:41:42mission. Oh, Taylor, mate, you are an
2:41:44absolute legend. Taylor and Will.
2:41:46>> What did he say?
2:41:48>> All right, boys. I got to hop on a
2:41:50plane. [laughter]
2:41:51>> Yeah, of course. He was out of there
2:41:53ASAP, man. How awkward would that be?
2:41:56literally he put so much effort into it
2:41:59and now they're just like, you know,
2:42:02>> perform,
2:42:02>> man. That's just so good. So good.
2:42:06>> So, you know, like the notepad, one of
2:42:08the strengths of the notepad is that it
2:42:10doesn't, you know, rouse suspicions and,
2:42:12you know, that's why Tay can bring up
2:42:14the fact that he's written in the
2:42:15notepad because he doesn't realize that
2:42:17he's kind of ruining Oz's plan by doing
2:42:19that. But there are times when people
2:42:21understand that writing something in a
2:42:23notepad is the secret to how Oz is able
2:42:26to figure out these words.
2:42:27>> Want me to show you or you want me to
2:42:28just say it to you?
2:42:29>> Say it.
2:42:30>> Yeah.
2:42:30>> Yeah.
2:42:30>> Your boy's here. You see him? You're 9
2:42:33years old. You're high five. Bingchow.
2:42:36>> How the [ __ ] did you get that?
2:42:38[laughter]
2:42:40>> Wait, wait, wait.
2:42:42>> Is it Bingchow?
2:42:42>> It's Bingchow.
2:42:43>> Is that right?
2:42:44>> Holy [ __ ]
2:42:44>> Yo, what the [ __ ] is going on, [ __ ]
2:42:47this
2:42:48>> and he came up with this [ __ ] This
2:42:50little Peter Parker looking
2:42:53[ __ ]
2:42:54>> This guy is [ __ ] great.
2:42:57>> You like a time traveler or something?
2:42:58Like you
2:42:59>> That's what Pat McAfee calls me.
2:43:01>> His pen and his little pad to write on.
2:43:03>> You know, no pens, no pads, no nothing.
2:43:05>> You got him.
2:43:06>> Joe, you got me good. Joe,
2:43:08>> have you written down a thing? Have you
2:43:09written down anything?
2:43:11>> Damn. And the way that just, you know,
2:43:12he reveals that and it just instantly
2:43:15clicks for everyone.
2:43:17>> You got him,
2:43:18>> Joe. You got me good.
2:43:19>> Clever tactic that O uses is to ask a
2:43:21question such as, "Did you write
2:43:22anything down?" Knowing that they did,
2:43:24but then follows it immediately with a
2:43:26bunch of questions like, "Did you
2:43:27whisper it to anyone?" Or, "Have you
2:43:28told anyone, which he knows that they
2:43:29didn't." They answer the last question,
2:43:31but it looks like they're answering all
2:43:32of them.
2:43:33>> Joe, you got me good. Joe,
2:43:36>> have you written down a thing? Have you
2:43:37written down anything? Have you
2:43:39whispered something to somebody? Have
2:43:40you said anything to anyone in this
2:43:41room?
2:43:42>> Uh, no.
2:43:43>> But now watch O be far more direct. And
2:43:46this time, 2 minutes later, he's going
2:43:48to ask him explicitly if he doesn't want
2:43:50to write anything down.
2:43:52>> You know, you said it's my pen. This is
2:43:54a pen. I don't care what. I don't want
2:43:55to write it cuz people can't hear it
2:43:56when we're on there. What if What if you
2:43:59write this down somewhere or you don't
2:44:00want to write it?
2:44:01>> I wrote it.
2:44:02>> Oh, no. No. You didn't write anything.
2:44:04There's nothing here. Here.
2:44:07That's a sneaky little dual reality
2:44:08attempt by O there. He asks Joe if he
2:44:11wants to write the answer down right
2:44:13here in the moment. And he's hoping that
2:44:16that's how Joe is going to hear that
2:44:18question. Uh but Joe hears it in the way
2:44:20that he wants us to hear it. That when
2:44:22he says he doesn't want to write it,
2:44:23that that means that he hasn't written
2:44:25down anything at all. Super clever.
2:44:28Super sneaky
2:44:29>> call. There's no nothing. You could have
2:44:30come up with anybody
2:44:31>> in this moment. Look at me.
2:44:33>> You know the number one rule of showbiz.
2:44:35You don't sell the steak, you sell the
2:44:37sizzle. Tea sizzle. Are you thinking of
2:44:38Terrell sug?
2:44:46[laughter]
2:44:46>> Hold up. Hold up. Hold on. Hold on.
2:44:48>> Watch this.
2:44:48>> Imagine this. Throw everything away.
2:44:50Throw everything away. Here's what I
2:44:51want you to do, Peter. No. I want
2:44:52nothing in your hands. Get rid of
2:44:53everything. No. No. I need your hands
2:44:55empty. Throw it away. I want you right
2:44:56now. No, you need hands empty. You're
2:44:58going to be writing something down,
2:44:59>> Peter.
2:45:00>> Okay. So, you might be thinking, "All
2:45:02right, I get it. You don't want to
2:45:04reveal that there was pre-show. You
2:45:05don't want to break that metad. Fine.
2:45:07Okay, I get it. But why go so hard?
2:45:09Like, if he's pulling out the piece of
2:45:10paper because he's amazed, then just let
2:45:12him be amazed. Let him show everyone
2:45:14that, you know, that's the name that he
2:45:16wrote down. And O would understand that.
2:45:19But you see, O has another agenda. He is
2:45:21going to later, right now, he's doing
2:45:23the first phase of tricks and then he's
2:45:24going to come around and do it again
2:45:25where everyone's name, the first letter
2:45:27of their name, is going to spell out the
2:45:29show Get Up. And so [snorts]
2:45:31what he's actually concerned about and
2:45:33why he's telling Bart to put the pieces
2:45:35of paper down. And you can see here
2:45:37there's two of them. One, two. They've
2:45:39got different names on each. O was just
2:45:42completely concerned that he was about
2:45:45to show the camera the name of the
2:45:48player that he's about to guess. And so
2:45:50he that's why he's working so hard to
2:45:52shut it down. You know, tell lies, tells
2:45:54him he needs his hands free to write
2:45:56down something later. Um, [snorts]
2:45:59I mean, impressive that O has such
2:46:01control over the moment, but in another
2:46:03lens, it's kind of revealing, isn't it?
2:46:05And karma kind of comes for O a little
2:46:07bit because, well, I'll just show you.
2:46:12>> Is it Draymond Green? Is it his eyes? We
2:46:16see his eyes.
2:46:16>> This is insane.
2:46:17>> Why?
2:46:18>> Hold up. Next one. Next one. Next one.
2:46:20That was
2:46:20>> any player in the NBA. That's who I
2:46:22picked right over here.
2:46:23>> There's like some dark magic, bro. Like
2:46:25me, man. How do I speak?
2:46:27>> Same question. Same question. Someone
2:46:29walks in. The next room is all different
2:46:30NBA grades. Somebody walks in. You see
2:46:33this man.
2:46:33>> So that that's the link, right? The
2:46:35someone walks in. All different NBA
2:46:36grades. That's the explicit link to
2:46:38what's happened before the show.
2:46:39>> And look this way. I You know what? You
2:46:42did a power forward.
2:46:44>> What do you write? I was going to say,
2:46:46is this man a Knicks fan? Could he have
2:46:47gone that obvious? For sure. Tell us
2:46:50all.
2:46:51He didn't do Jaylen though. Tell us who
2:46:53who walking in the room. Tell us what's
2:46:54his name. Say it
2:46:57>> in my head.
2:46:58>> Yeah. Who'd you pick? Who is it? Say it.
2:47:00>> Ant-Man.
2:47:01>> What? No. Let me ask you a question.
2:47:02Who'd you pick? Who was the person
2:47:03before?
2:47:05>> Who did I pick?
2:47:06>> Yeah. Who's who we picked one out. Who
2:47:08is it?
2:47:08>> Ant-Man.
2:47:09>> Full name.
2:47:10>> Anthony Edwards.
2:47:13>> I thought Anthony Edwards. Anthony
2:47:14Edwards. Anthony.
2:47:17>> I got to build the drama.
2:47:18>> Come on.
2:47:18>> PK. PK. Look at
2:47:20>> All right. I mean, that's a good
2:47:21recovery by O, but I'm about 99% sure
2:47:23that O just doesn't watch the NBA and he
2:47:25has no idea that Anthony Edwards
2:47:27nickname is Ant-Man. So, ends up,
2:47:30[clears throat] you know, spoiling his
2:47:31own trick somewhat. Uh, good recovery
2:47:34from O. Good recovery.
2:47:41But Oz's cute little trusty notebook has
2:47:44one glaring weakness. And that weakness
2:47:47to borrow a word from the law of tors is
2:47:50its utter dependency on physical
2:47:52propinquity.
2:47:54Like O needs to be physically close
2:47:56enough to actually hand them the
2:47:57notebook so that they can write in it.
2:47:59So what does one do when one's target is
2:48:02a thousand miles away? Welcome to the
2:48:05ethically questionable boundary pushing
2:48:08world of inject 2. It's like a mentalism
2:48:12app with fake Google pages and stuff.
2:48:14We'll check it out.
2:48:15>> Now, Inject was designed back in 2013
2:48:19with [music] one simple idea in mind to
2:48:22have one app that can allow you to do
2:48:24[music] any kind of magic or mentalism
2:48:27because it is infinitely customizable.
2:48:31Imagine being able to perform
2:48:33practically any effect that you can come
2:48:35up with on a borrowed phone. You're
2:48:39going to do an image search of anything.
2:48:42You are thinking of
2:48:45a saddle.
2:48:51>> But first, here's a little bit of
2:48:52history about Inject One. So, this clip
2:48:55was leaked online. It's a video of Greg
2:48:57Restami, the creator of Inject, showing
2:49:00a bunch of customers what it actually
2:49:01looks like to use the app. So, we
2:49:03obviously all know what the app does.
2:49:05people are able to visit Google pages
2:49:08and somehow the magician is able to spy
2:49:10on what they search on their phone. Now,
2:49:13this is the old version of the app. This
2:49:14is like 9 years old. Full disclosure, I
2:49:17don't own Inject. I haven't bought it
2:49:19before. I haven't used it. Uh I only
2:49:21started researching it once I saw a few
2:49:22of Oza's videos and cottoned on to the
2:49:24fact that he has been spying on people's
2:49:27Google searches or that's one of the
2:49:28pre-show metad techniques that he uses.
2:49:31And so here you just have the magician's
2:49:34phone on the left and your spectator's
2:49:36phone on the right. Uh you'll ask your
2:49:38um spectator to go to google.com uh
2:49:40which you saw there and then it's
2:49:43essentially it's a a kind of slide of
2:49:45hand move. You need to ask if you can
2:49:47have uh the spectator's phone for a
2:49:48second where you you lie and you say
2:49:50that you're going to perform a Google
2:49:51search. In reality, what you do is you
2:49:53go to this uh custom URL. Uh this custom
2:49:56URL it doesn't again this is a super old
2:49:58video so this doesn't work anymore.
2:49:59There's been all kinds of updates and
2:50:01issues with Google not being happy about
2:50:03impersonating them and this kind of
2:50:05thing, but essentially what the magician
2:50:06will do is they'll go to this custom URL
2:50:08forward slash and then their own sort of
2:50:10personal ID which is linked to their
2:50:12version of the app. So every magician
2:50:14has their version of the app um you know
2:50:16will have their own you know username
2:50:17and login password or however it works
2:50:19on their phone. And so they put in their
2:50:21custom ID which uh means that when it
2:50:24goes to this uh fake Google page
2:50:27whatever the target searches in this
2:50:29fake Google page will only be sent to
2:50:31that specific magician's phone. And so
2:50:34obviously you know there are kind of
2:50:35some ethical questions that come up with
2:50:38this. you know, if you are visiting a
2:50:40page like Google, do you want to live in
2:50:43a world where there's a possibility that
2:50:44maybe a magician is, you know,
2:50:46performing a trick and is able to spy on
2:50:48whatever you search here? Uh, or, you
2:50:50know, is this really just sort of
2:50:51harmless entertainment? I leave that
2:50:53question to you. But nevertheless, uh,
2:50:55you will get your magician to, sorry,
2:50:58you'll get your spectator to type uh,
2:51:00something in Google here. And then what
2:51:03that does is as soon as they search it,
2:51:07come on, Greg. All right, there you go.
2:51:09Soon as they search it, it will show up
2:51:11on the magician's phone. So if you can
2:51:13convince them to do I think Greg's got
2:51:15an example here where he gets them to
2:51:17type in a pin number, uh then yes, of
2:51:20course, that too will appear on the uh
2:51:23on the magician's phone. So here they're
2:51:24typing in 4 3 2 1. They put that in and
2:51:27the magician's phone vibrates and they
2:51:29can immediately see what they searched.
2:51:31Now, as I said, Google wasn't too happy
2:51:33with this. They weren't happy uh about
2:51:35this at all. Actually, they regarded it
2:51:37as fishing. Uh and they removed inject
2:51:40and it's still removed, although only
2:51:42recently from the Google Play Store. So,
2:51:45Rastami responded to this by creating
2:51:48inject 2, I believe. Uh and he sort of
2:51:51made this new version of the trick uh
2:51:54which overcomes a weakness that this
2:51:55trick has. And you know, I said that
2:51:57this is about overcoming the weakness of
2:51:59the notebook. You know, the weak the
2:52:00weakness of the notebook is the fact
2:52:01that you have to have it in person,
2:52:04actually hand it to your target and they
2:52:06need to, you know, write things in it.
2:52:07Well, that's the same here. You know,
2:52:08you you don't need to install any kind
2:52:10of app on your on your target's phone,
2:52:11but they do need to give it to you and
2:52:13you do need to type in the URL. They're
2:52:16going to find it a little bit suspicious
2:52:17if you ask them to go to Google, but
2:52:18actually go to, you know, 11.co/10,
2:52:22you know, so you're going to have to
2:52:23type that in yourself. Now, this isn't
2:52:25available anymore, as far as I'm aware.
2:52:28Uh, I think Greg is in the business of
2:52:29actually rebranding the whole thing away
2:52:31from Google Peak and calling it Internet
2:52:32Peak. I don't know uh the details about
2:52:35that, but let's have a look at the uh
2:52:37new and improved version which uh allows
2:52:39you to not even need to touch the
2:52:41spectator's phone at all, which is
2:52:43called Google Stats.
2:52:46In this video, Greg is going to be
2:52:47teaching magicians how to use his Inject
2:52:502 app and specifically this Google uh
2:52:53stats feature which has some upgrades
2:52:55over the the fake Google page that we
2:52:58just looked at. So, take it away
2:53:00Gregory.
2:53:02This is remember this is the spectator's
2:53:03phone on the right hand side. The left
2:53:04side is the magician's phone. So, here
2:53:05we go. First, you're launching realist
2:53:08on your phone, right? There's real
2:53:10right. The only thing you do is hit the
2:53:12thumper button up on the top. When you
2:53:13do, you're going to notice that it says
2:53:14that your pairing topic is video games,
2:53:16right? So now you put your phone in your
2:53:17pocket and you're ready to perform. So
2:53:19uh you ask the spectator to open any
2:53:20browser. Your spectator opens up Safari.
2:53:22Uh you ask them to do a search for
2:53:23Google stats. So your SK spectator just
2:53:25types in Google stats. And usually in my
2:53:26patter I say, "Yeah, you can type it in
2:53:28as one word or two words. As a matter of
2:53:29fact, you can even misspell it because
2:53:30the nice thing about Google is that it
2:53:31doesn't matter because it's still going
2:53:33to find Google stats." And a majority of
2:53:35the time, you're going to notice that
2:53:36Google stats will appear either as the
2:53:37first, second, or the third item that
2:53:39will be in a Google search, which is
2:53:41amazing. which makes it essentially feel
2:53:43like a real Google service even though
2:53:45it's not. Um, and I didn't have to do
2:53:46anything.
2:53:47>> Yeah, I think that's probably the like
2:53:49that's the problem, right? [laughter] I
2:53:51mean, that's that's what people might
2:53:53get a little upset about maybe,
2:53:56>> right? Yeah. You said, "Yeah, Google
2:53:57static and it appears on the screen."
2:53:59And then you say to them, "Yeah, if you
2:54:00scroll all the way to the bottom of the
2:54:00page, usually the last icon there says
2:54:02video games." So, they go ahead and they
2:54:03scroll all the way to the bottom, they
2:54:04click on video games, and you can see
2:54:05over here it says connect to multiple
2:54:06sessions because all of you guys now are
2:54:07doing this at the same time as me. Uh so
2:54:08please uh refrain from doing a search
2:54:10right now like hey okay somebody did a
2:54:11search for Roly right now. Thanks. Okay
2:54:13so um at this point in time your
2:54:15spectator just does a search for
2:54:16anything they want. So they tap the top
2:54:17over here which is enter a search term
2:54:18or a topic. So we'll type in the word
2:54:20rabbit. We hit enter or they can also
2:54:22even hit the thing there and you can see
2:54:23on the left hand side it says rabbit
2:54:25right and that's it. You never touch
2:54:26your spectator's phone and suddenly
2:54:28whatever they have searched for in the
2:54:30Google stats page appeared here on your
2:54:32phone. And it's literally that simple.
2:54:34Okay.
2:54:35>> All right. So, I think you can see how
2:54:37this replaces the need for uh accessing
2:54:40the spectator's phone. You don't need to
2:54:42grab their phone and put in a custom URL
2:54:44and then your custom ID and all the rest
2:54:45of that. That is replaced by getting
2:54:47them to go to this fake Google stats uh
2:54:49page uh which is obviously not a Google
2:54:52page. It's completely run by the inject
2:54:55team. You go to that page, you scroll
2:54:57down, and you're going to choose this
2:54:58topic, video games, because that is the
2:55:01uh that well, I mean, the magician is
2:55:03going to guide you to choosing that
2:55:04topic because that is what links it with
2:55:06uh their phone. And then away you go. It
2:55:09is as Greg explained it.
2:55:12I think it's pretty obvious that O
2:55:14doesn't want people to know that he
2:55:15likes to manipulate them to entering
2:55:17those words or phrases in fake websites
2:55:18that he places in their faces to extract
2:55:20their information, give it back as
2:55:21mentalism, body language, ain't the
2:55:23lesson. Because not only does it break
2:55:25the metad, it also just seems super
2:55:28sketchy.
2:55:30>> How did you get that?
2:55:33>> Of all the countries in the world, did
2:55:34you did you like hack my phone?
2:55:36>> Now O isn't stupid. He's not going to
2:55:38risk revealing one of his most powerful
2:55:40gimmicks by sending someone to a fake
2:55:41Google page while the cameras are
2:55:43rolling. He's going to do it before the
2:55:44show and lean into that whole dual
2:55:46reality metad.
2:55:48which means that we need to rely on one
2:55:50of his targets to inadvertently spill
2:55:51the beans that he'd asked them to look
2:55:53up something on their phone before the
2:55:54show to get any evidence that that's
2:55:56what happened.
2:55:57>> The one that I can't I understand a few
2:56:00of them yours can't get.
2:56:02>> Yeah. How that
2:56:03>> cuz you didn't write it down, did you?
2:56:04>> No, he made me look at it a picture of
2:56:06him earlier in that room. Did you hack
2:56:09into the Wi-Fi or something?
2:56:10>> Is there a Wi-Fi? I'm not even on Wi-Fi.
2:56:14>> He made you What do you mean? Did
2:56:16something happen back there
2:56:17>> in the in the waiting room at the time.
2:56:19>> He goes, "Google yourself. Now Google
2:56:22>> Google." He was already googling himself
2:56:23for the record. [laughter]
2:56:25>> Google yourself. Now Google one person
2:56:27dead or alive you want to see have
2:56:29dinner with. And I did. And he goes,
2:56:31"Okay, just keep that. Save that." I'm
2:56:33like, "All right."
2:56:33>> Yeah. I need the photo.
2:56:34>> So how,
2:56:37>> man?
2:56:38>> I don't want to know. I like I like it
2:56:39being a mystery.
2:56:40>> I I disagree.
2:56:41>> Yeah, I got it now.
2:56:44This is incredible.
2:56:45>> Very well done.
2:56:46>> Impressive. But how do we know that they
2:56:48went to a fake Google page and not just
2:56:49a normal one? Well, what if he asked
2:56:52someone to Google search an NFL player?
2:56:55Any NFL player that they wanted to. And
2:56:57they make a mistake. They make a typo in
2:57:00the Google search and end up looking up
2:57:01a completely different player, one with
2:57:03a different number, different position,
2:57:04different team history. And then on the
2:57:07show, they think of their original
2:57:08player, but all the information that O
2:57:11tells them that he's reading them about
2:57:12the player that they're thinking of is
2:57:15related to the player that they
2:57:16misspelled into the Google search. Well,
2:57:19then that would just about prove beyond
2:57:20all reasonable doubt that O is using a
2:57:23fake Google page.
2:57:25>> Will, we got unfinished business. Okay.
2:57:26I want to know how your mental process
2:57:27worked. Did you know when you were
2:57:28picking the five of spades? That's what
2:57:29I was thinking of because I had written
2:57:30that down. You had no idea, but you just
2:57:31had a feel to go on that card and it was
2:57:32the five of spades. Sorry, my hand.
2:57:34>> Remind me to show you that trick. That
2:57:35trick is great for, you know, if
2:57:37someone's teetering on the edge of
2:57:38buying into mentalism, it just like
2:57:40pushes them right off into it. It's
2:57:42super powerful. Relies on a gimmick.
2:57:43Remind me. I'll come back to it.
2:57:45>> How many How many teams are there? 32
2:57:47teams in the NFL. Is that right? Y.
2:57:48>> And if I ask you, right, if I were to
2:57:50ask you to pick any player and you go
2:57:51through this,
2:57:52>> how the decision
2:57:54happens is fascinating to me. Let me ask
2:57:56you a question. I say to you, pick any
2:57:58player in the NFL, 32 teams, 53 players,
2:58:00right? And you close your eyes,
2:58:03visualize his face. Can you see this
2:58:05player as if he's sitting the bus with
2:58:06you right now?
2:58:07>> Yes.
2:58:07>> Okay.
2:58:08>> So, you see those um inconspicuous
2:58:10links. Super super effective here. Right
2:58:12now, Will is thinking exactly of the
2:58:14player that he chose before the show.
2:58:15>> Open your eyes.
2:58:17>> I think that you started with the
2:58:20player's position. Is that how you did
2:58:21it?
2:58:21>> Yes.
2:58:22>> Knowing Will's skin color.
2:58:23>> I think his skin [laughter] color.
2:58:25>> You laughed at that. Now you give me a
2:58:26hint. I was good. I think he started
2:58:28with position, then you went to team,
2:58:30then you went to player. 32 teams.
2:58:33All right, let me give this a go. Think
2:58:35AFC, think NFC.
2:58:36>> Okay,
2:58:37>> look at that.
2:58:38>> I KNOW.
2:58:40>> OH my god.
2:58:43>> See these kinds of reactions uh from
2:58:45people. This is why you can be so
2:58:47attracted to mentalism as a performer
2:58:51because people don't react like this. If
2:58:53you're doing what they think is a magic
2:58:55trick, if they think you're doing some
2:58:57extraordinary skill that they don't
2:58:58understand, then they react like this
2:59:00because their whole world is deceived.
2:59:03This is the power of metad. It changes
2:59:05people's whole entire world.
2:59:08>> So nervous right now.
2:59:09>> I think something's up.
2:59:11>> Like just imagine being nervous watching
2:59:12someone doing a magic trick. It just
2:59:14doesn't happen.
2:59:15>> Something's up.
2:59:19Close your eyes.
2:59:22Okay,
2:59:25>> hold up.
2:59:26>> No,
2:59:27>> hold up.
2:59:28>> I thought the same thing.
2:59:31>> For those of you who are listening,
2:59:32>> key word. Look at that. Now it's coming
2:59:34into perspective.
2:59:37>> I mean, this is all really good from O,
2:59:39but because of the mistake that's coming
2:59:42because Will made it, and it's nothing
2:59:43to do with O. Will just made a mistake
2:59:45himself. And um it's it's almost kind of
2:59:49cringey to watch. And this is one of the
2:59:50effects of, you know, when you fully
2:59:52break the metadception and you see that
2:59:53O is, you know, just doing this all the
2:59:55time, it can be actually super cringey
2:59:57to watch. But that doesn't mean that
2:59:59it's not effective for people who are
3:00:00still, you know, deceived by mentalism.
3:00:07I want to show you this. All right. Open
3:00:09your eyes. Think offense. Think defense.
3:00:12Think offense. Think defense. H.
3:00:17You know what? Best offense is a good
3:00:18defense. He went defense, right?
3:00:24>> Yeah. No, I'm trying to I'm trying to
3:00:25say just stare.
3:00:26>> Do you see what's on this table? Look
3:00:27down. Do you see everything on this
3:00:28table? Look down. Cards. We got drinks.
3:00:30We got everything. When I say the number
3:00:32four, what does that make you think of?
3:00:34>> Do I say it out loud?
3:00:35>> Yeah. Does four make you think of
3:00:36something when I said the table
3:00:38right here? Do you see it? Corner.
3:00:42You're thinking of a cornerback, aren't
3:00:43you?
3:00:43>> Do I answer?
3:00:44>> Yeah.
3:00:44>> No,
3:00:45>> it wasn't quarterback.
3:00:46>> Corner.
3:00:47>> Cornerback.
3:00:50Did this person switch teams in the last
3:00:51year?
3:00:53>> I don't think so.
3:00:54>> Okay, I got I gota preface this because
3:00:55I think we have confusion here. Are you
3:00:56thinking of the same person? You've got
3:00:58one person throughout. You just pick a
3:00:59new person.
3:00:59>> I'm thinking of the cat. You you over
3:01:01>> I think it's him.
3:01:03>> That's a clever phrase that O uses. Are
3:01:05you thinking of the same person
3:01:06throughout? That's a really strong dual
3:01:08reality phrase because what does
3:01:09throughout mean? If you've set the
3:01:11context to thinking that you're seeing
3:01:12the whole trick here, then the same
3:01:14person throughout is just, you know,
3:01:16since the start of this particular clip,
3:01:18but if your will throughout means
3:01:21throughout the entire day, including the
3:01:23pre-show where he actually got him to
3:01:24choose the player. Very clever, specific
3:01:27language choices designed to feed this
3:01:29dual reality metad.
3:01:31>> Not a quarterback.
3:01:32>> Not a corner.
3:01:34>> Played for the Jets last year.
3:01:37>> Yes.
3:01:38>> Just switch. Did you not know that? just
3:01:39switched to the Buccaneers. Bryce Hall,
3:01:41isn't it?
3:01:43>> Breeze Hall. Yeah,
3:01:43>> Bree Hall. Is that not right?
3:01:45>> He's on the Jets.
3:01:46>> He's on the Jets still. I think he just
3:01:48traded in the last eight of the Bucks.
3:01:51>> Listen to this.
3:01:52>> Look him up.
3:01:53>> How do you
3:01:56>> And I did miss and put Bryce Hall first
3:01:58in the Google search.
3:02:02>> Is he Jets or Bucks?
3:02:05>> Man, I love Will so much.
3:02:07>> I mean, my heart my heart's pounding.
3:02:09Bruce Hall should be on on
3:02:11>> Bruce Hall team team.
3:02:13>> Looks like he's uh
3:02:14>> still with the Jets.
3:02:15>> Jets good enough for me. I don't know if
3:02:16it was a trade. I'll take it.
3:02:18>> That means Bruce Hall might be getting
3:02:19traded.
3:02:20>> I heard it here first. I didn't mean
3:02:22that. [laughter]
3:02:23>> Was that really? Was that your person?
3:02:24>> Yeah.
3:02:25>> Yeah, I switched.
3:02:26>> Who was before?
3:02:28>> Don't know that one.
3:02:28>> Who was it before?
3:02:30>> Sweating in here.
3:02:31>> It was Christian McCaffrey.
3:02:32>> Oh, that was too easy.
3:02:33>> I know. That's what I thought was
3:02:34happening. So I immediately was going to
3:02:35like a versatile
3:02:36>> went from running back.
3:02:37>> I thought you were going to go Roberts
3:02:38Fain.
3:02:39>> That's funny.
3:02:40>> I thought you were going to Robert
3:02:41Spain,
3:02:41>> but he was talking fantasy draft. I
3:02:42thought he was setting me up to pick
3:02:43Christian McCaffrey, but I went a little
3:02:44more versatile. So about you getting a
3:02:46maybe second.
3:02:46>> So just to clarify the conversation
3:02:48that's happening right now. Will is
3:02:49talking about switching players from
3:02:50Christian McCaffrey. He's actually
3:02:52talking about what happened before the
3:02:53show with O. O would have gotten him to
3:02:56go through a exercise first such as, you
3:02:59know, kind of what we saw a glimpse of.
3:03:01Choose the team, choose the player,
3:03:02choose the position, narrow things down
3:03:04until you get to your player. When Will
3:03:05did that, he he chose Christian
3:03:07McCaffrey. That was his process of going
3:03:09through that. In that moment before the
3:03:10show, he thinks that O is getting all
3:03:12these reads on him that he's later going
3:03:13to use on the podcast. And so Will
3:03:15changes his mind when O does what he
3:03:18really needs to do to get the
3:03:20information and asks him to use this
3:03:21fake Google search. He at that moment he
3:03:24changes his mind to Bree Hall. And so
3:03:26Will is actually more impressed because
3:03:29O was still able to get to Bree Hall
3:03:32even though the player that he thought
3:03:34of during the exercise where he thinks O
3:03:36is reading him is Christian McAffrey.
3:03:38Does that make sense? It's something
3:03:39that sort of isn't super clear on the
3:03:41podcast because it's actually supposed
3:03:42to be something that we never really
3:03:43learn about at all. That's the point.
3:03:45Keep the pre-show hidden from the
3:03:47viewer.
3:03:48>> Are you able in any capacity,
3:03:50>> right,
3:03:50>> to tip off how you knew that?
3:03:51>> Well, I didn't know perfectly. So, I'm
3:03:53telling you, that's why I say it's you
3:03:53never know what's going to happen
3:03:54because it was close. I misspelled it.
3:03:55Sorry about that. I'm having a rough
3:03:56spelling day. But uh why do I think
3:03:59Bucks? I don't know who you thought of
3:04:00on the Bucks. Now it's killing me.
3:04:02>> We'll go find the Bucks this year.
3:04:03>> I think so.
3:04:04>> You know, like it's easy because you
3:04:05know, you know how Oz is doing this.
3:04:07It's easy to be critical of these guys
3:04:08and say, "Oh man, you're so stupid." You
3:04:10type something in the Google search and
3:04:11that's the name he gets. Come on, man.
3:04:13It's super obvious. You've got to
3:04:15understand that metad is powerful.
3:04:17medicine. Like when you engage in
3:04:19conversations with with people after you
3:04:22understand how this works, you will find
3:04:24that people's minds are extremely
3:04:25resistant to the truth. If they're not
3:04:27looking for it themselves, you can come
3:04:29along and basically it's just going to
3:04:31be this endless game where they say,
3:04:33"Oh, no. Well, how does how does that
3:04:34explain this? I saw this trick where
3:04:36this person said that there was nothing
3:04:37that happened before the show." And
3:04:39you're just going to find that you're
3:04:41going to come up with some real mental
3:04:43architecture where once people have a
3:04:45theory that theory likes to protect
3:04:47itself. It has emotional uh baggage
3:04:50associated with it. Uh it does not want
3:04:52to die. And so it's very difficult. This
3:04:55is why people don't change their
3:04:56political opinions uh very frequently
3:04:58because a political view is like a
3:05:00theory of the entire world. Those don't
3:05:02change super frequently uh and super
3:05:05easily. So when these guys remember
3:05:06they've been there, Will in particular
3:05:08here, he is sucked into that meta
3:05:10deception of mentalism. He thinks that O
3:05:12is figuring out things. He just asked O
3:05:14if he can give him a little hint, a
3:05:16little sort of insight into the world of
3:05:17all the kind of calculations that he
3:05:19thinks O is doing. And so to him
3:05:21misspelling something in the Google
3:05:22search, it's got nothing to do with
3:05:24anything. In fact, it makes it more
3:05:26impressive.
3:05:27>> Will's coming back out retirement.
3:05:28>> Yeah.
3:05:29>> You're 10 for real.
3:05:29>> I mean, my mind's blown even though he
3:05:31got the he was you being serious. He
3:05:32thought I was thinking of quarterback.
3:05:33>> I thought Were you thinking another
3:05:34quarterback? I wasn't thinking corner. I
3:05:35was always thinking running back. But
3:05:36the fact that you landed on
3:05:37>> Bryce Hall, Breeall and I mistyped and
3:05:39put Bryce Hall first in my search bar
3:05:41and then landed on Brie Hall and I told
3:05:42JP I was like, I switched my player. I
3:05:43don't think he's gonna get it right.
3:05:45>> That is wild.
3:05:46>> Are you in any capacity able to explain?
3:05:47>> No, I got to leave some mystery, man. I
3:05:49got to got to keep exciting.
3:05:50>> Can you teach us a small thing?
3:05:52>> You taught us learning names three
3:05:54times, 10 seconds. Find a word play in
3:05:56that. Jared Rouble O D whatever it was,
3:05:58>> right?
3:05:59>> Is there anything you can teach us in
3:06:00the mentalist world?
3:06:02>> I got to think. A small little
3:06:03>> It's going to take longer than you
3:06:04expect. That's the problem.
3:06:05>> Okay. Okay. Okay. I'll wait for the
3:06:06book.
3:06:06>> I know you don't wait for the book to
3:06:08watch for the kids.
3:06:10>> What does the stat that I had to look
3:06:11up?
3:06:12>> No, I don't know the stat. I was just
3:06:13trying to see.
3:06:13>> You were just I kind of move you around.
3:06:15>> That's a good little piece of info. He
3:06:16says, "What's the stat that I had to
3:06:18look up?" So, probably what happened is
3:06:20that O got his uh phone in his hand,
3:06:23sent him to that Google Peak fake URL
3:06:25using the side of hand, you know, typing
3:06:26in the fake URL. Make sure he puts in
3:06:28his ID number. It sends it to Oza's
3:06:30phone and then uh he looks him up, you
3:06:33know, then then it runs the Google
3:06:34search and I think how it works is it
3:06:35actually sends people to a genuine
3:06:37Google search. At that point, it's
3:06:38broken free of the inject to um fake
3:06:42website link. And so whatever anyone
3:06:44searches on their page after that O
3:06:46isn't going to find. And so I think the
3:06:48justification that he would give
3:06:49someone, not just, hey, I want you to
3:06:50randomly search this NFL player in your
3:06:52Google search, haha, that's it. He has
3:06:54to give them a reason. So I think in
3:06:56this case he would have said there's a
3:06:58certain stat that he wants him to look
3:06:59up. Now Will wants him to now guess. Can
3:07:02you guess that stat? Of course it's
3:07:04completely irrelevant to
3:07:05>> O.
3:07:07Do you watch his fingers?
3:07:08>> I'm watching everything.
3:07:09>> Yeah, cuz you asked me a question.
3:07:11>> So here's the clip from just a few
3:07:12minutes later where Will is actually
3:07:14going to show us the the proof of what
3:07:16he's done on Google.
3:07:20>> It's unbelievable, man.
3:07:22>> It really is.
3:07:24made me work.
3:07:25>> Does it is it is it exhausting the five
3:07:26of spades? Uh, not exhausting, but
3:07:28sometimes, you know, you got to really
3:07:29focus.
3:07:29>> And by the way, I'm still so blown away
3:07:31because my first search was Bryce Hall.
3:07:32>> Who's Bryce Hall?
3:07:33>> And I was like, and then I misspelled
3:07:34it. I go forward Breeze Hall.
3:07:37>> Sorry.
3:07:38>> Because he had me he had me type out my
3:07:39own stuff on my own search bar. I I
3:07:41wasn't showing him. And I was thinking
3:07:42of the player and I misspelled it first
3:07:43and put Bryce Hall and then obviously
3:07:45that was the player I land on. I I don't
3:07:48know, man.
3:07:49>> It is crazy, huh?
3:07:51So Will does not understand the
3:07:52incredible value that he's just given uh
3:07:55the community of people who are learning
3:07:57about this metad.
3:07:59That's that is the strongest evidence
3:08:01that you will find on YouTube that O is
3:08:05using a fake Google page in the pre-show
3:08:08as one of his methods to set up a trick.
3:08:12Absolutely bonkers. the kind of evidence
3:08:14that you do get that is weaker than
3:08:16that, but you know when you combine it
3:08:17with that just completely steamrolls any
3:08:20kind of request for for proof that
3:08:22someone has to be really quite thick to
3:08:25um although I have seen it happen like
3:08:27I've shown people that proof and for
3:08:29them it's just like oh okay well sure
3:08:30maybe he's using that for that trick but
3:08:32there's definitely this thing over there
3:08:33that he totally is using mentalism for
3:08:36>> you time them you see what it is
3:08:37everyone's different I don't have a rule
3:08:39for like how this person thinks or what
3:08:41this person's eyes do you read people
3:08:43and then I start to lo notice patterns
3:08:46and that's how I kind of do what I do.
3:08:47So in this
3:08:49>> Yeah, but brother
3:08:52uh there is no pattern or thing going on
3:08:56here with me bringing up a random random
3:08:59name from my childhood.
3:09:01>> Should we get into that now or later?
3:09:02Because it's gonna be hard to unwind
3:09:03once.
3:09:04>> But I think the audience should pay
3:09:05attention to this because he he set up a
3:09:07trick earlier and then he said,
3:09:08>> "Hold up. I want to make sure we say
3:09:10this. I said to you one thing. I said,
3:09:12"Jake, you've been
3:09:14>> But that's but that's what I'm saying.
3:09:16There's there's not a pattern to this."
3:09:17Like you
3:09:18>> And quick question. Quick question. Did
3:09:19you whisper this to somebody here? Is
3:09:21there a microphone? You whispered it.
3:09:22>> No. No. Nobody knows.
3:09:24>> Did you Did you write it down anywhere?
3:09:26No.
3:09:26>> I I put it in my phone cuz
3:09:28>> Oh, good. Good. Well, hold on. Hold on.
3:09:29Is it on your phone right now or it's
3:09:30gone?
3:09:30>> No, it's gone. I cleared the history.
3:09:32>> This guy cleared his browser history.
3:09:34All right. So, you literally thought a
3:09:35>> and I hit I hid in a corner while I was
3:09:37typing it.
3:09:38>> And what did you do? You checked if it
3:09:38was a popular name?
3:09:41Uh yeah. Yeah.
3:09:42>> Because I want you I say look up if this
3:09:44is a popular name because if you pick
3:09:45Michael, man, I'm gonna be disappointed.
3:09:47>> He made me pick a like super random name
3:09:51from my childhood that's very hard.
3:09:54>> Two minutes ago, right? I didn't make
3:09:55you anything.
3:09:55>> It metad I said it's just a very
3:09:57powerful thing and unless you're looking
3:09:59to uh break it, it's going to live on.
3:10:02Now remember I said there was a trick
3:10:03that O did for will that if you are
3:10:05skeptical of mentalism if you are unsure
3:10:07but you could be convinced then when you
3:10:10see a trick like this it just pushes you
3:10:12off into the deep end. Welcome to the
3:10:14wonderful world of highly specialized
3:10:17gimmicks.
3:10:30>> Are they mixed up or they've shuffled up
3:10:31a little bit? Yeah, shuffle them up. I I
3:10:33don't want to mess around. Shuffle them
3:10:34up.
3:10:36>> I reckon having someone shuffle cards is
3:10:38one of the most powerful things that you
3:10:40can do, especially if the magician never
3:10:43touches the cards again, which O's
3:10:45doesn't.
3:10:47>> Now, here's the expectation where a a
3:10:50magic trick
3:10:51>> is if if I say pick one out right now,
3:10:53right, Will, and then he picks one out
3:10:54and he puts it back then and I find it.
3:10:55No, no, no. We're not doing that. We're
3:10:57not doing that. Come on. That's below my
3:10:58pay grade.
3:10:58>> Okay, that's super powerful framing from
3:11:00O's. This trick, as I said, if you're
3:11:02skeptical about mentalism and you're
3:11:04going to watch this happen, it's going
3:11:06to absolutely crush you. It is 100%
3:11:08gonna make you a believer because it's
3:11:10just it's just so damn powerful. It
3:11:12doesn't look like a magic trick because
3:11:14the magician isn't holding the cards.
3:11:15He's not handling them. He's not doing
3:11:17anything that might make you sort of
3:11:18think, "Oh, he's up to he's up to
3:11:19something. He's using slide of hand."
3:11:21It's so clean, even from sort of other
3:11:24other tricks that O does that rely on
3:11:26this pre-show dual reality metad.
3:11:28There's no strange language that O has
3:11:30to use here. There's no camera edits.
3:11:32It's this just totally clean kind of
3:11:36just absolutely candid shot. It's so
3:11:39powerful because of that. And so I mean
3:11:42what I mean what can I say? It's just so
3:11:44powerful.
3:11:44>> I love doing that though.
3:11:45>> It's good. It's fun. I'm not knocking
3:11:46it. But that that I could do that. So I
3:11:49want to do something unexpected. Are
3:11:51they shuffled up? Are they mixed up?
3:11:52>> Yeah, they're shuffled. I'll do a
3:11:54couple. I'm kind of nervous. I'm shaking
3:11:55a little bit.
3:11:57Now I'm ready to go.
3:11:57>> If you want, I don't care. Or they're
3:11:58not in some sort of order. And here, put
3:12:00them in put them down table somewhere
3:12:02and push down and kind of like spread
3:12:03them out a little bit.
3:12:05>> Everybody should be watching on YouTube.
3:12:06And subscribe.
3:12:07>> And this is all you. He's got he's got
3:12:08deck cards. Subscribe. And he shuffled
3:12:10them up. It's your cards. And what I
3:12:11want you to do is take and and you're
3:12:13not going to look, but you're going to
3:12:15move your finger across. And whenever
3:12:16you get an urge, you you you like stop
3:12:19on one.
3:12:20>> Okay.
3:12:20>> Okay. Like kind of go across. And it's
3:12:22got nothing to do with me. If you feel
3:12:23good about it, you just stop on one.
3:12:25>> Will's eye contact. It's got to feel
3:12:26right to you. You got one.
3:12:28>> I don't where it is. I don't You take
3:12:30this card. What I want you to do is take
3:12:31it. Bring close to you. I don't want to
3:12:32be see I don't want to see Bring close
3:12:33to you. Make sure Make sure that Taylor
3:12:35can't see it. Just for you. Oh, you got
3:12:36it.
3:12:37>> Yeah.
3:12:38>> Do you know what it is, Will?
3:12:39>> And like just like that. That's the
3:12:41trick done. O knows the card that Will
3:12:43has chosen. He hasn't touched him. He
3:12:45hasn't done anything. How does it work?
3:12:47It's a It's a gimmicked deck. And it's
3:12:50it's the kind of thing that if you're a
3:12:51nerd like me and does a bunch of
3:12:52research then you find out yeah these
3:12:54these gimmicks decks exist where um you
3:12:57know the back of the playing card is
3:12:59supposed to be identical for all the
3:13:00cards in the deck. For this gimmicked
3:13:02deck they just hide the playing card in
3:13:05like the top you know lefthand corner or
3:13:07somewhere in the middle of the card you
3:13:08know in this inconspicuous way. And
3:13:10that's what Oz is doing when you see
3:13:13this here. I don't you take this card
3:13:16>> right there. He's like guiding himself
3:13:18even with the finger looking right at
3:13:19that point in the card which now the
3:13:21video is too low resolution so we can't
3:13:23zoom in and check. Um but he's just
3:13:26looking at at at he's getting the read
3:13:28by looking at the back of the card and
3:13:30then the rest of the trick is just you
3:13:31know what we've seen before. O knows the
3:13:33information. He's just got to pretend to
3:13:35read it. Like if you don't if you don't
3:13:37know about that you're defenseless man.
3:13:40Like you are defenseless. That is such a
3:13:42clean trick. And you can actually I
3:13:43think
3:13:45Yeah, I think this part of the video is
3:13:48is it I think it's like one of the most
3:13:49replayed parts of the video because of
3:13:51just how clean and powerful it is. So,
3:13:54um yeah, you'll often And you'll often
3:13:55find actually when O sort of tries to
3:13:57distance himself from something being a
3:13:59magic trick, it's because what he's
3:14:02about to do is so damn clean because the
3:14:05fact that he's using a super gimmick.
3:14:07So, let's check out another one.
3:14:11Don't say it this time. Don't say it.
3:14:12Don't say it. I don't think Close your
3:14:13eyes.
3:14:14>> Okay. So, this isn't the gimmick that
3:14:16we're looking at. We're just I'm just
3:14:17setting you uh this for context so you
3:14:19know what we're going into. In this
3:14:20case, O would have gotten the word Aiden
3:14:22just using a pre-show magic trick that
3:14:23he's finishing on the show like we've
3:14:25spoken about.
3:14:25>> Don't say it. Don't say it. I might be
3:14:27wrong. I might be wrong. It might be
3:14:28close.
3:14:29>> Has to be.
3:14:29>> Oh, that's one person. This person
3:14:30popped in your head for no reason,
3:14:31right?
3:14:31>> No, we went to school for like three
3:14:32years.
3:14:32>> Who just popped in your head? What's his
3:14:33name?
3:14:34>> Aiden.
3:14:34>> Aiden?
3:14:35>> What?
3:14:37>> What?
3:14:37>> Like, please stop.
3:14:38>> All right. How? How? How? Is this a bit
3:14:40>> Hold up. Hold on. Dave, Dave, let's do
3:14:42this. This is crazy. You You don't know
3:14:43what's going on. Studio, you're far
3:14:44away. Where are you? Sunny Miami.
3:14:46>> Yes.
3:14:46>> I'm in New York. All right. Here's what
3:14:47I do. Grab your phone. Grab your phone.
3:14:50>> You see like Dave's demeanor. He's very
3:14:52different to the other three because
3:14:54one, he's pretty sure that he's looking
3:14:55at something that is a magic trick, but
3:14:57he's also just seen something that he's
3:14:58never seen before. He believes, he
3:15:01reveals this later, he believes he's
3:15:02being pranked. He just thinks that
3:15:03everyone is in on it, which is a really
3:15:05common interpretation. If you're not
3:15:06going to get sucked into mentalism, then
3:15:08generally the only place for your brain
3:15:09to go if you don't sort of know too much
3:15:11about how this works is that, you know,
3:15:13people are just in on it. They're just
3:15:14actors.
3:15:16>> Yeah.
3:15:16>> Which is weird for Dave because he
3:15:18actually knows the people who it's
3:15:19happening to. So his he has to meet
3:15:21halfway and say it's a prank.
3:15:23>> This is this is unreal.
3:15:24>> This is [laughter] crazy. Go to
3:15:25Instagram
3:15:27>> and I want you to go start going through
3:15:29your feed. Like go through people you
3:15:30follow. Totally random. Start looking
3:15:32through. Scroll down. Scroll down.
3:15:34Scroll down. Whenever you want, man.
3:15:35Whenever you feel an urge, just stop on
3:15:38on one post.
3:15:40>> Yep.
3:15:40>> You got one.
3:15:41>> Is there any way I can know what this
3:15:42is? Straight up. Any possible way I can
3:15:44know?
3:15:46>> Not that I'm aware.
3:15:47>> Okay,
3:15:48>> that's such a good answer. Uh, not that
3:15:50I'm aware either. Is there any way for
3:15:52Oz to know? It's also completely
3:15:54unnecessary for him to be able to see
3:15:56Dave's screen in order for this to to
3:15:58work. That's not the gimmick.
3:15:59>> Let's take it a step further. Open up
3:16:00the caption. Is there a caption on the
3:16:03post?
3:16:03>> Yep. And and and I want you to look up
3:16:06and down and I want you to uh pick a
3:16:09word. Pick a word, man. Pick a word in
3:16:10that caption, but don't don't pick a
3:16:12hashtag. Pick a word.
3:16:13>> Yep.
3:16:13>> You got one.
3:16:14>> Yep.
3:16:15>> Come on now.
3:16:16>> There's no way,
3:16:17>> Dave. All right. Look at me. Look at
3:16:20this guy doesn't even blink. The
3:16:22intensity on porti. [laughter]
3:16:25>> This is insane. I'm still freaked out
3:16:28about the Aiden.
3:16:30All right. All right. Easy.
3:16:32>> Okay.
3:16:34>> Dave, uh, was the person that you
3:16:37thought of, I just want to know this.
3:16:38The person you thought of an obvious
3:16:40choice for you or not really.
3:16:41>> Well, I didn't really think of any, but
3:16:42you just told me Stop.
3:16:44>> Tell us all. Tell us what's the word you
3:16:45picked. What's the word? Say it.
3:16:47>> Four.
3:16:48>> Like what? When you say four, is it the
3:16:49number four? What?
3:16:51>> F O R.
3:16:52>> Yeah.
3:16:55>> Not even close, right? Not even close.
3:16:57Dead on, Dave. Dead on.
3:17:00>> What? That's crazy.
3:17:02>> There's no way. There's absolutely no
3:17:04way.
3:17:04>> You know it's good. Dave's cracking a
3:17:06smile. You know it's got to be good.
3:17:07JOSH,
3:17:08>> ACTUALLY ONE TRICK, BABY. One trick, one
3:17:10bite. We know the rules. What do you
3:17:11rate that, Dave?
3:17:13>> That was great. I don't know how you're
3:17:14doing.
3:17:15>> What's my number? What's the number?
3:17:16Four. One to 10. What do we got on that?
3:17:18>> Oh, that's a great That's a great 10.
3:17:19Wow.
3:17:19>> What do we get? What was the rating on
3:17:21that? You said 10.
3:17:22>> I don't know what's going on. I feel
3:17:23like I'm just being pranked.
3:17:25>> I brought something. Dave is such like a
3:17:27character.
3:17:28>> I don't know what's going on. I feel
3:17:29like I'm just being pranked.
3:17:31>> To do this to someone like Dave who is
3:17:33super skeptical, you know, the first
3:17:35thing as he's there, as he's
3:17:36experiencing a trick that he's willing
3:17:38to drop a 10 out of 10 for. He's trying
3:17:41to contain himself, you know, and
3:17:44reassure himself. This guy's a magician.
3:17:46What I have seen, there's a trick
3:17:47somewhere. There's a puzzle somewhere. I
3:17:49have to figure this out. So O has just
3:17:52accomplished the impossible. This is
3:17:54There's no pre-show. There's no um no
3:17:57stooges. Dave is being genuine. Dave
3:17:58really did go to a site. O has not
3:18:00hacked Dave's phone. He hasn't sent him
3:18:02to some sort of gimmick site where he
3:18:03can see what word he goes to on
3:18:05Instagram. Uh how he's able to do it is
3:18:08just the talk board. Uh O is using a
3:18:11very expensive gimmicked talk board that
3:18:15uh is connected to his assistant's phone
3:18:17or iPad. And when he asks Dave what the
3:18:21word is, we get such a blessing cuz like
3:18:24we don't see O use this trick much. I've
3:18:26watched a lot of Oza's interviews and
3:18:28this is the only time I've seen him use
3:18:30this gimmick. And that's the thing when
3:18:32you're using an incredible gimmick like
3:18:33this. You can't really use it all the
3:18:35time because people are going to see it
3:18:37and then it's going to break the metad
3:18:38that you're using mentalism. So you have
3:18:41to bring it out in sort of very sparse
3:18:44moments. And so choosing someone super
3:18:46skeptical like Dave is a pretty good
3:18:48choice to bring it out. The assistant
3:18:50just writes the word. We see that Dave
3:18:52chooses the word for. We get lucky in
3:18:54that sense because the word for has like
3:18:56three different spellings depending on
3:18:58whether it's you know preposition or a
3:19:00noun. F O R F O U R or even F O R E. Um
3:19:04so O's though is super on his game and
3:19:08asks for clarification straight away. He
3:19:11comes in and says when you say four, how
3:19:13do you spell it? So he can give his
3:19:15assistant that explicit instruction
3:19:17who's just, you know, sitting in the
3:19:18same room. He spells it out. Fo, they
3:19:20write it and O just needs to buy a
3:19:22little bit of time for the for the
3:19:24chalkboard to generate it.
3:19:25>> Yeah.
3:19:30>> Not dead on, Dave.
3:19:32>> And just like look at how legit that
3:19:34looks. Initially, my my first take of
3:19:37this video um got copyright struck by
3:19:40the creator of a similar chalkboard that
3:19:43uses a motorized uh piece of chalk. So,
3:19:46similar idea. You ask the spectator to
3:19:48give you a word and then it's it's a big
3:19:50stage illusion and then this like little
3:19:52sort of motorized thing comes out. It's
3:19:54got arms from the top of the hidden in
3:19:56the in the panel of the board comes out
3:19:58and it writes the word for you. This
3:20:00operates much quicker.
3:20:02>> Like that was really weird. I don't
3:20:05know.
3:20:05>> Especially the word you chose. You chose
3:20:07four.
3:20:07>> Yeah, but I said it before he showed it.
3:20:10>> No, you No, you didn't.
3:20:11>> Yes, I did.
3:20:12>> But I But I saw him write
3:20:14>> it before he showed it. Bri,
3:20:15>> I saw him write it before he said it
3:20:17before.
3:20:18>> Bri, he did. He if I didn't say it. If I
3:20:21said you show it before I say it, I
3:20:23guarantee you he wouldn't had it.
3:20:25>> We have to rewatch it.
3:20:26>> I know. I said it first and then he
3:20:28showed it and he had it. I don't know.
3:20:30Maybe he drugged you. I don't know, Bri.
3:20:32He did something after I said four that
3:20:35he somehow got it on there. I don't know
3:20:37how.
3:20:37>> Well, I rewatched it.
3:20:39>> He showed you guys EMTT before before I
3:20:41said it. That was crazy.
3:20:44>> He did.
3:20:44>> Childhood crush. Little little childhood
3:20:46crush. That's crazy.
3:20:47>> He did show us.
3:20:50>> Does anyone else know? Maybe he does
3:20:52research. I don't [ __ ] know.
3:20:56>> Meeting with him and everything cuz I
3:20:58was like, there's got to be like
3:20:59something like that. He didn't contact
3:21:00us at all. All right. So anyway, so as
3:21:03you can see, Oz is not afraid of getting
3:21:05his hands dirty with the magician's
3:21:06gimmicks. Even though he goes from
3:21:08interview to interview saying that he
3:21:09doesn't use gimmicks and it's more about
3:21:11presenting his skills, that's just all
3:21:13part of the metad of mentalism.
3:21:15>> I think that magic, while I love it,
3:21:17creates a puzzle. And I'm not trying to
3:21:20create a puzzle that's trying to be
3:21:22figured out. I'm rather trying to show a
3:21:24skill.
3:21:25>> I'm curious if you can if you can
3:21:26demonstrate something about
3:21:27misdirection. If you can do something
3:21:29small or simple with me right now, we
3:21:30can demonstrate.
3:21:31>> Well, misdirection, I mean, is more
3:21:33magic based.
3:21:33>> Got it. Got it.
3:21:35>> I'm curious if you can if you can
3:21:36demonstrate something about
3:21:37>> misdirection. Well, misdirection, I
3:21:40mean, is more magic based.
3:21:41>> Got it.
3:21:42>> So, something like a chalkboard is a
3:21:44powerful gimmick, but it's also kind of
3:21:45weak. Its power is in the fact that that
3:21:47chalkboard looks like a real legitimate
3:21:49chalkboard, and the chalk that comes up
3:21:52looks like it was really written with an
3:21:54actual piece of chalk. But the problem
3:21:56is is that if you're going to use the
3:21:58chalkboard in your hundreds of different
3:21:59media appearances, then it's going to
3:22:01seem abnormal because people don't
3:22:03ordinarily just sort of carry a
3:22:04chalkboard around with them and people
3:22:05are going to know that something's up
3:22:07and you're going to risk damaging that
3:22:08metad. So, if you're going to use a
3:22:11gimmick to achieve something where
3:22:13someone has a completely free choice and
3:22:15you're going to reveal that you knew
3:22:16what that free choice was going to be,
3:22:18then you're going to need something a
3:22:20little more imperceptible.
3:22:21>> Did you go by Ted or Teddy?
3:22:23>> Teddy.
3:22:23>> Teddy. All right, Teddy. One to 100.
3:22:26Think of a number. One to 100.
3:22:28>> Look. See right there? Little pivot
3:22:30right there.
3:22:30>> He pivoted
3:22:31>> through the curve ball.
3:22:32>> Bert absolutely believes that O's can do
3:22:35this body language stuff.
3:22:36>> Do you think mom would guess what number
3:22:38you did?
3:22:40>> No.
3:22:40>> Okay, I'm going to show everybody. And
3:22:41this is where it's not a magic trick cuz
3:22:42you saw what I wrote down.
3:22:44>> I saw it.
3:22:44>> Now, before I go further, is it too
3:22:46obvious? Is little man's birthday coming
3:22:48up? Would he have done this right away?
3:22:49One question.
3:22:50>> You can see again like this is another
3:22:52gimmick. Uh, it's a thumbwriting gimmick
3:22:54and O's, he really leans into it. If
3:22:57he's got a good gimmick, then he'll lean
3:22:59into the fact that it can't be a magic
3:23:01trick. And it's it's clever because he
3:23:04says, you know, this isn't a magic trick
3:23:05because you've like here I've written
3:23:06the I've written the prediction. I've
3:23:08shown it to you and and now here we go.
3:23:10So, there can't be anything suspicious,
3:23:11right? And then he's going to do the
3:23:12suspicious thing. We've seen that
3:23:14principle before.
3:23:15>> Did you change your mind in the middle
3:23:16or you knew what you were going to pick?
3:23:17>> I knew what I was going to pick.
3:23:19>> Do it higher. This kid's sharp. This
3:23:20kid's sharp. I'm crossing it out.
3:23:21Crossing out bird. No way. No way. Does
3:23:23he go that low? I'm going with this
3:23:24instead. Done. Take the marker.
3:23:26>> Okay, marker's here.
3:23:27>> I wrote eight, Teddy. And I knew it was
3:23:29wrong. It's not eight, is it?
3:23:31>> No.
3:23:31>> I knew it. Did I tell you? Did I tell
3:23:32Tell us both. What did you go with? What
3:23:33was that number?
3:23:34>> What do you think?
3:23:35>> Five.
3:23:35>> Five. Tell them what I wrote. Tell them
3:23:36what I wrote down. Eight. I wrote down
3:23:38five.
3:23:39>> What?
3:23:40>> So, it was uh does pretty well there.
3:23:42So, the trick trick works, you know, by
3:23:44writing the kid's name at the top. Uh he
3:23:46does that, you know, actually with the
3:23:47pen. He's got there the prediction of
3:23:49eight. I think there was a mistake with
3:23:50the banter. I think he said there's no
3:23:52way that he would go that low. And then
3:23:54Teddy's prediction is actually lower
3:23:56than Oza's initial one. So, bit of a
3:23:58plot hole there. Uh, but you can see
3:24:01that the ink has, you know, clearly been
3:24:02written in something uh other than the
3:24:05ink that was written for the five. And
3:24:07that's because O switches to using a
3:24:08thumb pen. Uh, just you it's a fake
3:24:10thumb with a little uh thumb tip pen tip
3:24:13on it uh that he can use to write
3:24:15something after they say what it is. So,
3:24:17just like the magic chalkboard, same
3:24:19concept. And so yeah, that's the secret
3:24:22for that one. Getting them to write or
3:24:24having write the name allows him gives
3:24:26him an excuse to write the number lower
3:24:29uh on the page, which is sort of
3:24:30necessary if you think about, you know,
3:24:32writing things with your thumb. But
3:24:33here's a quick compilation of him using
3:24:34the same gimmick.
3:24:38>> How did you do that? [laughter]
3:24:41>> Teddy. Teddy.
3:24:43>> He's less impressed, more scared.
3:24:44>> Teddy. Teddy. Teddy. He is so good.
3:24:47>> He's He's like He's like magic, Teddy.
3:24:48Like honestly, like magic. If Leanne
3:24:50here, she get mad as she'd like
3:24:51something on fire.
3:24:58Thinking about metad, there's something
3:25:00really interesting about how O performs
3:25:02that trick. And it's the false start. He
3:25:04writes down a number, shows everyone,
3:25:06knowing full well that he's going to
3:25:07cross it out, and then bring in the
3:25:08thumb gimmick.
3:25:09>> Did you change your mind in the middle,
3:25:10or you knew what you were going to pick?
3:25:11>> I knew what I was going to pick higher.
3:25:13This kid's sharp. This kid's sharp. I'm
3:25:15crossing it out. Crossing out bird. No
3:25:16way. No way does he go that low. I'm
3:25:17going with this instead. done.
3:25:20>> If you're willing to use metadception,
3:25:21then you've got no issue with using
3:25:23camera edits to make your tricks look
3:25:25even better. And all you have to do is
3:25:27edit out the part where you cross out
3:25:29the prediction. And then your video will
3:25:31look like this.
3:25:32>> Pick a number one to 100.
3:25:36Don't say it. Don't say it. Get a peek.
3:25:39What did you go with? Tell us all what's
3:25:40that number. Ruy, what are you thinking?
3:25:42>> 88.
3:25:42>> Tell them what I wrote. Please tell them
3:25:44what I wrote. You saw I wrote down 88.
3:25:51Now O's working with organizations to
3:25:53edit out his use of gimmicks is sound
3:25:55and metad strategy. But it can be
3:25:57confusing if one of those organizations
3:25:59is built on the values of truth,
3:26:01evidence, facts, and ideas worth
3:26:04spreading.
3:26:09I am build as the world's greatest mind
3:26:11readader. But guess what? I can't read
3:26:13minds. What I can do is read people. And
3:26:16people ask a question all the time which
3:26:18is were you born with this? And the
3:26:20answer is no. Of course not. Absolutely
3:26:21not. I do not possess any supernatural
3:26:23powers. I am not a psychic. This
3:26:25>> it's so powerful to use that as
3:26:26misdirection and to have it as well.
3:26:29Even the TED logo is is effectively
3:26:31functioning as misdirection here because
3:26:33people are sort of going to assume that
3:26:36this person is here to inform them. And
3:26:38I think the whole guys of this
3:26:39presentation is that O is going to be
3:26:41teaching people how to remember names.
3:26:43That's like the functional thing. When I
3:26:44see people respond to to those who are
3:26:46critical of O using metadception in in a
3:26:50context like this, like at a TED talk,
3:26:52uh people will say, "Oh, but he he
3:26:54actually did give us good information
3:26:55about how to remember names." And that's
3:26:57an interesting thing to maybe wrestle
3:26:59with and figure out yourself because
3:27:01it's clear to me that it's still Oz is
3:27:04using misdirection that is still going
3:27:06to build be building his notoriety. And
3:27:08this
3:27:08>> this is a learnable skill.
3:27:09>> This whole performance is going to
3:27:12involve three people. He's going to
3:27:13choose them from a crowd. And that's
3:27:15something interesting to look at. He's
3:27:16going to choose them from a crowd in a
3:27:17way that looks spontaneous and spur of
3:27:19the moment. Instead, he's just going to
3:27:20choose the three people that he has set
3:27:22a trick up with by using pre-show. So
3:27:26that's, you know, he he clearly he's
3:27:27going to use dual reality metad. That's
3:27:29going to be a big part of how this
3:27:31works. As well as the meta deception of
3:27:33the the camera edit that we'll get to.
3:27:34So I'm not going to sit here and um play
3:27:36the whole video. We'll get to the part
3:27:38where he um chooses the crowd.
3:27:43the members from the crowd.
3:27:44>> Crunch time. Open your eyes. Everyone
3:27:46out there, give me a big clap over your
3:27:47head if you can see your person in your
3:27:48mind's eye. Give me a big clap.
3:27:50One more big clap. Notice the technique.
3:27:52Elbows locked on this man. Michael
3:27:54Phelps would been jealous of that
3:27:55streamline. Stand up, please. Stand up,
3:27:56please. Introduce yourself.
3:27:57>> And that's a really clever tactic to
3:27:59use. If you can [snorts] essentially one
3:28:01build your own charisma by making it
3:28:02look like you're spotting something in
3:28:04in the spur of the moment and then this
3:28:06observational comedy coming through,
3:28:08you're going to look super charismatic
3:28:09and your choice is going to look super
3:28:11spur of the moment. Double whammy.
3:28:13>> Uh, sorry. How you
3:28:14>> Ian? Question for you. Before you walked
3:28:16in this room and sat down, did you have
3:28:17any idea who I was or what I was going
3:28:18to do?
3:28:19>> No, actually, sorry.
3:28:20>> Okay.
3:28:21>> That is a technique that Obull used a
3:28:23lot a lot. A lot a lot. Uh, I'm almost
3:28:25surprised that they didn't use a camera
3:28:27edit to boost it to new heights. When he
3:28:29asked someone, "Have we ever spoken a
3:28:30word in our life, it's always qualified
3:28:32with, as you saw in this case,
3:28:34>> Ian, question for you. Before you walked
3:28:36in this room and sat down, did you have
3:28:37any idea who I was?" Or
3:28:38>> before you walked in this room and sat
3:28:40down. That's a super important qualifier
3:28:43and it's how O can get away with this
3:28:45dual reality metad. This guy can answer
3:28:48that question honestly because yeah, he
3:28:50didn't interact with O's before he came
3:28:52in the room and sat down, but what about
3:28:53before he sat down when he comes in the
3:28:55room before he sits down? There's a
3:28:57little bit of time in there and O's as
3:28:59we've seen doesn't need much time at all
3:29:01to set up a trick. And that's absolutely
3:29:02what he's done in this case. you again,
3:29:05just like we've seen with the gimmicks,
3:29:06if you're willing to use camera edits,
3:29:08which if you're using metad, you're
3:29:10almost certainly willing to use camera
3:29:11edits, uh, because you're not abiding
3:29:13by, you know, a traditional magician's
3:29:15code, um, or anything. Uh, well, then
3:29:19then, uh, you can do something like what
3:29:21he did with Joe Burrow. You know, Joe
3:29:23Burrow, he says, "Have we ever spoken a
3:29:25word in our life?"
3:29:26>> Forget about magic tricks, coach. What
3:29:27if I could look a QB in the eyes and
3:29:29tell you exactly who we're going to
3:29:30throw the ball to next? Now we're
3:29:31talking. Have we ever spoken a word in
3:29:33our life?
3:29:34>> No.
3:29:34>> And that's one of the reasons why that
3:29:36trick is as viral as it is because
3:29:38people see that and it's just I mean why
3:29:40would Joe Barrow lie? Why would And
3:29:42that's that's how people build the
3:29:44misdirection in their mind. Why would
3:29:45someone like Joe Brow lie? And he's not
3:29:47lying. He's just answering most likely a
3:29:49different question. O wouldn't have
3:29:51said, "Have we ever spoken a word in our
3:29:53life?" O says, "Before today, have we
3:29:55spoken a word in our life?"
3:29:56>> This is not set up. Mark, before us
3:30:00talking today, did you have any idea
3:30:02that I was going to ask you this
3:30:03question or where we would go or any of
3:30:06this before today?
3:30:07>> Before today? No.
3:30:08>> No.
3:30:09>> So, while Joe Burrow is fresh our minds,
3:30:11I thought we'd pause the TED talk and go
3:30:12on a little side quest to understand how
3:30:15O was able to create that effect with
3:30:16Joe because it is one of his most viral
3:30:18viewed videos and it's got some good
3:30:19principles to wrap our head around as
3:30:21well. So, as I said, the first meta
3:30:22deception to get past is this
3:30:24conversation that's happening between O
3:30:26and Joe. From our point of view, it
3:30:29looks like O says something like this.
3:30:32Forget about magic tricks, coach. What
3:30:34if I could look a QB in the eyes and
3:30:36tell you exactly who they're going to
3:30:38throw the ball to next? Now we're
3:30:40talking. Have we ever spoken a word in
3:30:42our life?
3:30:43>> No.
3:30:44>> And yet, if I show you the unedited
3:30:46version of that clip, you see something
3:30:48like this. Forget about magic tricks,
3:30:51coach. What if I could look a QB in the
3:30:54eyes and tell you exactly who they're
3:30:55going to throw the ball to next? Now
3:30:57we're talking. Joe, before today, have
3:31:01we ever spoken a word in our life?
3:31:03>> No.
3:31:04>> O does a similar thing with Josh Allen
3:31:05where he's also going to predict which
3:31:07players he's going to pass to, except
3:31:08this time he doesn't rely on a camera
3:31:09edit. He just uses misdirection in the
3:31:11question itself.
3:31:12>> And I'm going to ask you to throw that
3:31:14ball. And I want everyone to know under
3:31:16oath in court, I did not say a word to
3:31:18you about telling you who to throw that
3:31:20ball to. This is your own decision.
3:31:22100%. True story.
3:31:23>> True story.
3:31:24>> So we see O qualifies. I've never said a
3:31:26word to you with about who to throw the
3:31:28ball to. That it was Josh Allen's own
3:31:29decision. Now he says decision because
3:31:31before the show where O does most of his
3:31:33work, he would have presented Josh with
3:31:35a deck of cards each with different
3:31:37players names on them and asked him to
3:31:38make a decision about who he's going to
3:31:40throw the ball to. O then just uses some
3:31:42slide of hand to force Josh to make the
3:31:44choices that he wants. In this case, he
3:31:46needs to have the players that he passes
3:31:48the ball to have jersey numbers that are
3:31:50going to line up with someone else's pin
3:31:52code or passcode.
3:31:54>> FOLKS, I TOLD YOU I KNOW EXACTLY WHO
3:31:56YOU'RE THROWING TO. DAWSON KNOCK, STAND
3:31:57UP for me, please. Dawson,
3:32:01>> what's your jersey number?
3:32:05>> God, say it.
3:32:08>> 88. GREG RUSSO, STAND UP. WHAT'S YOUR
3:32:11JERSEY NUMBER?
3:32:12>> 50.
3:32:12>> 50.
3:32:14[cheering]
3:32:16>> And so that's very different to what he
3:32:18does with Joe Burrow because he doesn't
3:32:20have anything like that with Burrow
3:32:21where people's jersey numbers are going
3:32:23to have to, you know, spell a word or
3:32:24line up with someone's pin code or
3:32:26anything like that. And so Joe has a
3:32:28more free choice. And so at that point,
3:32:31it's really just about when did O's
3:32:33trick Joe to uh plan or give him the
3:32:37information about who he was going to
3:32:38throw the ball to three times. And so
3:32:41it's really a question of did it happen
3:32:42right there in front of all the boys
3:32:45watching? You know, did he give him a
3:32:46gimmick notepad and just, you know, ask
3:32:48him to go in the corner and and write it
3:32:50down and just buy some time and that all
3:32:51gets edited out by ESPN or is it
3:32:55something that happens before the show?
3:32:56It's a little bit like detective work at
3:32:58this point, which is ordinarily not what
3:32:59you do with magic tricks, but that's
3:33:01metad for you. I did see a segment on
3:33:04flagrant where he's talking about the
3:33:06trick with Joe Burrow.
3:33:07>> Funny because a guy hit me up on
3:33:08Facebook Messenger and he told me he was
3:33:11in the grocery store with Joe Burrow and
3:33:12he's like, I have to share this. I was
3:33:14Joe and he told me, Joe, we were talking
3:33:16about it and he goes, oh, I saw this
3:33:17mentalist. I'm a huge fan of this. Do
3:33:19you remember him? He goes, remember him?
3:33:20He goes, "I spent eight months trying to
3:33:21figure out how the hell he did that to
3:33:23me." And I thought I knew how he did it.
3:33:26>> And then at the Super Bowl, I saw him
3:33:27backstage and he did something else to
3:33:28me and I realized I had no idea because
3:33:30everything I thought was completely like
3:33:32I had this theory and it was all wrong
3:33:34because he did it to me again, but with
3:33:35nothing. Like
3:33:36>> with nothing? What do you mean with
3:33:38nothing? We didn't see Joe use anything
3:33:40in the video. So, didn't you already do
3:33:41that with nothing? So, I think Oz is
3:33:43giving us a peak behind the curtain
3:33:45inadvertently here that yeah, he did
3:33:47trick Joe into using something. either a
3:33:49gimmicked notepad before the show or
3:33:50even during the show and ESPN just
3:33:52simply edits it out to make it look uh
3:33:54seamless. I also found that video of
3:33:56that second trick that O does with Joe
3:33:58and it contains one of the most creative
3:34:00powerful techniques I've ever seen O
3:34:03pull off for disguising the fact that
3:34:05there was anything that happened before
3:34:06the show.
3:34:13>> Joe, I got to take it to the next level.
3:34:15I got to take it to the next level,
3:34:16which is what if instead of you being
3:34:18with your team with the Bengals, I give
3:34:20you a fantasy draft of any player that's
3:34:23ever played, period, NFL greats, past or
3:34:27present, you're doing Omaha through.
3:34:29You're throwing the ball to one person.
3:34:31Close your eyes right now. Close your
3:34:33eyes, please. See this person in front
3:34:35of you right now. Can you imagine him?
3:34:36>> Yeah.
3:34:38>> I'm going to ask you one question. Did
3:34:40you instantly know when I asked you who
3:34:42you were going to go with, or were you
3:34:42on the fence?
3:34:43>> I was on the fence. You're on the fence,
3:34:44right? I love that when people are
3:34:45indecisive, but the strongest QBs,
3:34:48>> how powerful is that? How powerful is it
3:34:51if people are skeptical that you're
3:34:53doing things before the show to just ask
3:34:55someone, are they indecisive? Have they
3:34:58really made their mind up? If he's
3:35:00gotten someone to write something down
3:35:01before the show, then how could he not
3:35:02know right then in that moment who he's
3:35:04going to say? That's the power of this
3:35:06technique.
3:35:07>> Always deliver under pressure. Keep your
3:35:09eyes closed. You swear to God, I did not
3:35:11tell you who to say right now. There's
3:35:13no setup, folks. Joe Burl could have
3:35:15thought of anybody. Tell us all your
3:35:16Omaha through. Who's catching that ball?
3:35:18Who's scoring the touchdown? Open your
3:35:19eyes. Tell me.
3:35:20>> Randy Moss.
3:35:21>> Randy Moss.
3:35:23>> YO, MAKE SOME NOISE OUT THERE.
3:35:25[cheering]
3:35:26>> JOE, do you have questions?
3:35:29>> Well, I thought I had it figured out
3:35:31when he did it in Cincinnati, but
3:35:35this one didn't work out the same way.
3:35:38So, now I'm confused again. I would say
3:35:39>> that's what I like to do. I like to keep
3:35:41confusing you up in the ante.
3:35:42>> All right. So, what has O done here?
3:35:44It's uh it's so devious. It's so clever.
3:35:47All he has to do to achieve what you
3:35:49just saw is to take take Joe aside
3:35:52before the show as he did uh with the
3:35:55with the first trick or at least he did,
3:35:57you know, somewhere in the trick. And he
3:35:59just has to have Joe have two different
3:36:01players. And he says, "You know what?
3:36:03You've got these two different players.
3:36:05Don't choose one right now. Choose one
3:36:07when we're when we're on the air. You
3:36:09know, don't make up your mind right now.
3:36:10Choose one of these two when we're on
3:36:11the air.
3:36:12>> So, I told you that when you come into
3:36:13this room, I would have you pick
3:36:15somebody that maybe has been on the show
3:36:17or maybe hasn't. I told you you would
3:36:19not pick until you got into this room.
3:36:20>> True story.
3:36:21>> And so, he can ask them. That's why he
3:36:23uses that language. Are you uh do you
3:36:26know who you're going to pick or were
3:36:27you on the fence? Fence means one or
3:36:29two, right? And it's so brilliant and
3:36:32it's so clever. And O just has to make a
3:36:35guess. He just does a 50-50 split and he
3:36:38guesses Randy Moss and he gets it right.
3:36:40And if he got it, if he guessed someone
3:36:42else, then he would have said, "Okay,
3:36:44was there who were you going to say
3:36:46before that?" You know, I love this
3:36:47moment. The grass is always greener. The
3:36:49insanely powerful thing about that
3:36:50technique is that we don't see that O
3:36:52has a backup plan if he chooses the
3:36:54other one. And we also have no idea that
3:36:56he's choosing between two players,
3:36:58unless he's doing it to someone like
3:37:00Charles Barkley. And Barkley just kind
3:37:02of lets us in on what's actually going
3:37:04on.
3:37:05Charles, if I had you pick a player,
3:37:08okay, 64 teams started this and I had
3:37:11you pick one right when I snap my
3:37:13fingers. Now, be honest because everyone
3:37:14says scripted stage on your life. You do
3:37:17not know which player you're about to
3:37:18say at this very moment, do you?
3:37:19>> I do not. Okay.
3:37:20>> You gave me
3:37:20>> Hold on. Hold on. Yeah. Go back and
3:37:21forth. Imagine dribbling back and
3:37:23>> just like that, what looks like a choice
3:37:25between hundreds of players is now
3:37:27revealed to be a choice between two and
3:37:29>> forth. Going back and forth. You pick 64
3:37:32teams down to this. And when I snap my
3:37:34fingers right at this moment, you pick
3:37:36one of those players. Gary, you choose.
3:37:39Bam. Can you visualize the person's face
3:37:41that in this moment you decided is going
3:37:43to be the guest?
3:37:44>> Yes.
3:37:44>> Okay. You go back and forth.
3:37:46>> Wait, do I say it?
3:37:46>> Don't say it. Just think it.
3:37:48>> Okay.
3:37:48>> Watch him. You still don't know who
3:37:49you're going to say, do you?
3:37:50>> No.
3:37:51>> Don't say it. Look at me. You just
3:37:53decide on one just a second. Is that
3:37:54right?
3:37:55>> Yes.
3:37:56>> Count the number of letters in his last
3:37:57name to yourself.
3:37:59>> Okay.
3:37:59>> It was quick, right?
3:38:00>> Yeah.
3:38:00>> I saw it. You know what? right now. So
3:38:02when people in the comments say, "No,
3:38:04wait." Change your mind right now.
3:38:05Change your mind. Other player, change
3:38:07your mind right this second.
3:38:08>> Okay.
3:38:08>> Say it. Who did you just change to?
3:38:10>> Richardson.
3:38:11>> Michigan State.
3:38:12>> This is so clever. The two players that
3:38:15he's gotten Charles down to have
3:38:18completely different last names. I can't
3:38:20remember what the first one is, but the
3:38:21first one's really short. It's like
3:38:22three letters long. And the other one is
3:38:24Richardson. And so for the first time,
3:38:27this is some of the first footage we
3:38:28have of O actually analyzing someone's
3:38:32body language or how long they they take
3:38:34to actually count the letters in a name
3:38:36to figure out what their choice is.
3:38:38>> How many letters somebody counts if they
3:38:40have a long name, it takes longer to
3:38:42process.
3:38:43>> Now, he's just doing it between those
3:38:44two, so I don't know of how super
3:38:46impressive that is.
3:38:47>> Your eye movements and body language
3:38:48play a role, but whether it played a 10%
3:38:50role, a 50% role, 100% role, my job is
3:38:53to misdirect you. But what a clever
3:38:56idea. And then he's got to have an
3:38:58envelope prediction. And uh yeah, so the
3:39:01envelope is wrong. The I mean his first
3:39:03choice didn't match the envelope. And so
3:39:05he says, "Right at this moment, just uh
3:39:07change your mind. You know what? Just
3:39:08change your mind. Go to the other one."
3:39:10>> So when people in the comments say, "No
3:39:11way. Change your mind right now. Change
3:39:13your mind. Other player, change your
3:39:14mind right this second."
3:39:15>> Okay.
3:39:16>> Say it. Who did you just change to?
3:39:18>> Richardson.
3:39:19>> Michigan State.
3:39:20>> Yeah.
3:39:20>> In there when you looked, this was
3:39:22sealed two weeks ago. state would still
3:39:24be in the game. Quick, quick, quick,
3:39:26quick. Folks, you don't just cut.
3:39:28>> Such a clever idea.
3:39:29>> So, you may have forgotten, but uh that
3:39:31was a side quest. Back to the TED talk.
3:39:34>> Give me another clap. Give me another
3:39:35clap. I like that. Right here, you not
3:39:36only clap, but you're doing a little
3:39:37belly dance. I reward extra credits.
3:39:39She's
3:39:40>> I heard O's use that specific joke uh
3:39:43before on I think it was Megan Kelly.
3:39:45There was someone in the front row. He
3:39:47does the same thing. Clap over and he
3:39:49says that they did a little did a little
3:39:50belly dance. It works against O's
3:39:52because there's actually a camera on the
3:39:53guy the whole time and you you see that
3:39:55he doesn't do any kind of belly dance.
3:39:57>> One more clap. Let me see one more clap.
3:40:00>> I like how this gentleman right here not
3:40:02only clapped but did a little bit of a
3:40:04belly dance right there. That was
3:40:06adorable. Stand up, please. You gave a
3:40:09>> So, again, I'm not I'm not attacking O's
3:40:12uh like when when I say this standup
3:40:14comedians, do they write their jokes
3:40:16beforehand and practice them and
3:40:17rehearse things? Yes, of course. Of
3:40:19course they do. O executes this really,
3:40:21really well. His speaking ability is on
3:40:24par with his side of hand and magic and
3:40:25misdirection ability. Uh, this guy is
3:40:28super, super talented. Make no mistake
3:40:30about that. [snorts]
3:40:31>> This man and I just locked eyes. When we
3:40:33made eye contact, he closed his eyes
3:40:35tightly [laughter] as if activating a
3:40:38camouflage shield where if he doesn't
3:40:39see me, would I still see him? I still
3:40:41see you. Jeff Johnson, stand up. Please
3:40:42give all three helpers a round of
3:40:43applause.
3:40:49Okay, so he has his three helpers. Uh
3:40:51he's then going to go into the whole uh
3:40:54name talk thing. Reveals the first guy's
3:40:56um person which is just whatever it's
3:41:00that pre-show metad. But it's
3:41:02interesting again to just see how O
3:41:03works with the second one because she I
3:41:06believe doesn't follow his instructions
3:41:07and comes up with someone new. She
3:41:08doesn't refer to the person that um she
3:41:11would have you know written down or
3:41:13Google searched or something. [snorts]
3:41:15Nigeria I think again rouging of the
3:41:17cheeks little sweat your person is alive
3:41:19also am I correct
3:41:20>> now what I do in my profession is I take
3:41:22things that appear to have limitless
3:41:23possibilities and break them down people
3:41:25that are famous there's several kind of
3:41:27>> powerful misdirection again he doesn't
3:41:28know beforehand he's building it from
3:41:30the ground up by starting from these
3:41:32different categories and then working
3:41:33working all his way to the answer when
3:41:36in fact we know that he starts with the
3:41:38answer and works his way to the
3:41:40categories
3:41:40>> categories I'm going to say them quickly
3:41:42you don't have to nod but we had tell us
3:41:44all Who in your mind is sitting across
3:41:46from you having dinner? You're on the
3:41:47edge of your seat. Tell us all what's
3:41:48their name.
3:41:49>> Bob Dylan. Bob Dylan.
3:41:51>> I couldn't hear you.
3:41:52>> Bob Dylan.
3:41:53>> Bob Dan. Can I ask you a question? I
3:41:54always like this. Everyone listen to me.
3:41:55I call this the grass is greener
3:41:56approach. I can always see when someone
3:41:56eyes shift. She goes, I like Bob Dylan.
3:41:58>> I love that choice of words. The grass
3:42:00is always greener. It's so powerful from
3:42:01a dual reality standpoint.
3:42:03>> I always call it the grass is greener. I
3:42:04can see when people's eyes shift when
3:42:07they have one person and they're like, I
3:42:08want that person. But that's the front
3:42:10of their mind. I can always get in the
3:42:11front. But for this to be a legendary
3:42:12ending, who is in the back? Who is the
3:42:14person you thought of before Miles
3:42:15Davis? Tell us.
3:42:16>> Muhammad Ali.
3:42:17>> Muhammad Ali. I always calls the grasses
3:42:18greener, which is he thought of someone
3:42:22first. It's always like in the back of
3:42:24your head and it moves to the front. You
3:42:25thought of somebody first and then you
3:42:27just switched to somebody else. Is that
3:42:29correct?
3:42:30>> Sure.
3:42:30>> I'm right. Am I right? You thought of
3:42:31one person before and then you switched
3:42:34to another person.
3:42:35>> The audience who's watching the trick
3:42:37happen is thinking that, oh, the poor
3:42:39girl's struggling to make a choice
3:42:40between two different people. she's
3:42:42flickering between them and then O backs
3:42:44it up when he says, "I can see when
3:42:45people's eyes shift." So that's their
3:42:46interpretation. But to the person he's
3:42:48talking to, it's something completely
3:42:50different. For them, the grass is always
3:42:52greener because they're rebelling or
3:42:55they're deciding to leave the person
3:42:57that they uh chose before the show that
3:43:00they've either written into his gimmicks
3:43:01notepad or into the fake Google search
3:43:03or what have you.
3:43:03>> Dad, imagine you literally I don't want
3:43:05Jamie D, but you pull up a photo. You
3:43:07show me this person's photo.
3:43:08>> Got it.
3:43:09>> Say it. And so for them, they've just
3:43:11got this completely different
3:43:12experience. And then Oz is about to, you
3:43:14know, back up that interpretation. But
3:43:16it's so powerful because of that dual
3:43:18reality aspect.
3:43:19>> But I actually had someone else in my
3:43:20mind. You thought of someone else. It's
3:43:21in the back of your head, but you just
3:43:22shifted. Can you tell me? I can. Folks,
3:43:25this is not my first rodeo.
3:43:29>> Who was the first person you thought of?
3:43:32>> Tell us. Tribe Noah. Don't ever doubt me
3:43:35again, Ted. Don't you ever doubt me
3:43:38again. And what you could say doesn't go
3:43:40as smoothly as O would maybe have hoped
3:43:43actually turns out to make it more
3:43:44impressive because it does look like she
3:43:46just sort of changed her mind at the
3:43:48last second and Oz is able to get that.
3:43:49So he rolls with that super well. Now
3:43:52we're going to get to the camera edit
3:43:53with the gimmick. So Oz is going to pull
3:43:54out a Frisbee like you see. He's then
3:43:56going to hand it to someone in the crowd
3:43:58uh so that there's no any kind there's
3:44:00no kind of shade on him. So, he hands it
3:44:01to someone and they are going to throw
3:44:04uh that that Frisbee and they're going
3:44:07to throw it to a completely random
3:44:09person. This is this is someone um we'll
3:44:11come back to this in a second actually.
3:44:13Hold that thought. Um but he's going to
3:44:15now reveal the third person's name. So,
3:44:17remember he chooses three people from
3:44:18the audience. This is now the third
3:44:19person. And he's going to do that by
3:44:21getting this guy with the Frisbee. So,
3:44:22let's have a look at the Frisbee throw.
3:44:25>> Close your eyes. So, you can't even try
3:44:26to aim this piece of junk. Throw it.
3:44:27Catch. Someone catch. Someone catch. Go
3:44:28to the throw. Please go. Oh my god. Is
3:44:30that far? MIKE, RUN. RUN, RUN, RUN, RUN.
3:44:31STAND UP. STAND UP. Please stand up.
3:44:33Please stand up. Please stand up. What
3:44:35is your name?
3:44:36>> Okay, so he brings this guy down, brings
3:44:37old Brett down to this front stage. And
3:44:40here we go.
3:44:45>> Let's adjust this to the height my wife
3:44:46wishes I had. Okay, she's watching this
3:44:48now live and saying, "That's true." Uh,
3:44:50Brett, here's what you're going to do.
3:44:51I'm going to ask you in a moment. Have
3:44:53you ever spoken to me a word in your
3:44:54life?
3:44:54>> I haven't.
3:44:55>> See, I already asked it that time. Have
3:44:56you ever spoken to me a word in your
3:44:58life? That there was no qualifiers. No,
3:45:00before the No, before today. No, before
3:45:02you came in and took a seat. That was
3:45:04just a blanket. Boom. That's what O
3:45:06wants. In this case, he can ask that
3:45:08because it's true. He doesn't need to
3:45:09have spoken to this guy before. He's
3:45:10going to use a gimmick.
3:45:11>> He seemed happy about that. That was
3:45:12weird. Uh I'm going to ask him in a
3:45:14moment to close his eyes. You need to
3:45:16believe it in order to achieve it. When
3:45:18you [snorts] close your eyes, I'm going
3:45:19to ask Jeff to uncap a marker and you're
3:45:20going to write the person. Now, very
3:45:21important. Jeff, you thought of one
3:45:22person. Is that correct?
3:45:22>> That's right.
3:45:23>> Okay. Because you know, Najiraa is like
3:45:24having dinner. She's like, "Load it up.
3:45:26Let's get six top." Brett, close your
3:45:28eyes. His eyes are closed. Brett, keep
3:45:30your eyes closed. Jeff, open up your
3:45:32marker, please. As big as you can, so we
3:45:34can't see it. Write down the first and
3:45:35last name of the person you are
3:45:36imagining sitting down to dinner with.
3:45:38Brett, open your eyes. You have to
3:45:40believe it in order.
3:45:41>> Okay, so the edit just occurred. Oza's
3:45:43you said the gimmick has well and truly
3:45:44been hidden from us. It's difficult to
3:45:46spot because we're bouncing between
3:45:47multiple cameras anyway, which is
3:45:49actually a really sort of clever way to
3:45:51hide uh the fact that there's been this
3:45:53jump in the timeline. We're going to
3:45:55jump into my video editor and just have
3:45:57a look at Oz's body language. Funny
3:45:59enough, we're going to do some body
3:46:00language analysis here, folks. This is O
3:46:03before he gives the instruction to Brett
3:46:06and before he uh sorry, he uses the
3:46:08gimmick and uh this is him after. So, if
3:46:13you just have a look at how Oz is moving
3:46:15after uh you can kind of tell that sort
3:46:17of something has happened. Uh it's very
3:46:19strange that he would suddenly be in
3:46:20this position whereas only moments
3:46:23earlier he was, you know, kind of
3:46:25standing sort of very sort of straight
3:46:27up and down like that. Why all of a
3:46:29sudden would he have this kind of
3:46:30movement like something has has just
3:46:33finished happening? The other thing that
3:46:34gives it away is actually Brett. So
3:46:35Brett's got this big smile on his face,
3:46:36but then O tells him to close his eyes
3:46:38and he closes his mouth and along with
3:46:40that we get this beautiful shot and then
3:46:42he's going to ask his third helper to
3:46:44write that name down, Barack Obama. And
3:46:47I don't even think this guy has enough
3:46:48time, at least according to the video,
3:46:50to write that full name. Okay, so they
3:46:52edit that out. Uh, so it's very clear
3:46:54that this is a continuity jump here,
3:46:57right? And again, look at Brett now.
3:46:58He's now smiling. He wasn't smiling like
3:47:00that before. He had his mouth closed.
3:47:02Now he's got a big old grin on his face.
3:47:03The reason he's got a big old grin in
3:47:05his face is because O just finished
3:47:06using the gimmick. What's the gimmick?
3:47:08It's a bone conduction device. It's a
3:47:10subtle little thing that O can hold in
3:47:12his hand. uh has these two conduction
3:47:14points placed against the back of their
3:47:16skull and it will actually vibrate and
3:47:18you can hear um audio that is playing on
3:47:21the device. If you get them to cover
3:47:22their ears uh at the same time, then you
3:47:24can misdirect it by covering you know
3:47:26their eyes uh as well and you know
3:47:28you'll put a hand on the back of the
3:47:29head with the device and they're able to
3:47:31hear those instructions. And so when you
3:47:34understand that you can understand that
3:47:35O has this kind of sway in him because
3:47:37he's moving away from Brett. That's
3:47:39what's been completely hidden here.
3:47:41>> Wake Pat up. Wake up Pat. Wake up, Pat.
3:47:44>> Pat.
3:47:44>> Yeah,
3:47:45>> tell them. Nobody tells Pat McAfee what
3:47:47to do.
3:47:48>> A voice literally summoned me to say,
3:47:52"What's that coming down the track?"
3:47:53Georgia Bulldogs.
3:47:55>> His eyes are closed. Brett, keep your
3:47:57eyes closed. Jeff, open up your marker,
3:48:01please. As big as you can, so we can't
3:48:04see it. Write down the first and last
3:48:06name of the person you are imagining
3:48:07sitting down to dinner with.
3:48:10Brett, open your eyes. You have to
3:48:13believe it in order to achieve it. Look
3:48:15not into his eyes. Look into his soul.
3:48:17And when I snap my fingers, tell him who
3:48:20is he having dinner with.
3:48:21>> Barack Obama.
3:48:22>> TURN IT AROUND. SHOW EVERYBODY. Show
3:48:26everybody. [cheering]
3:48:30[applause]
3:48:31Thank you, Brett. Now, of the gimmicks
3:48:33that we've been looking at so far, like
3:48:35the impression notepad, the thumbwriting
3:48:37gimmick, magic chalkboard, a trick deck,
3:48:39a bone conduction device, they've all
3:48:42been created with a single purpose in
3:48:44mind, to help a magician perform a magic
3:48:46trick. But sometimes the most effective
3:48:49gimmicks are things that aren't created
3:48:51for that purpose at all. They're a
3:48:53feature from an app that no one knows
3:48:55about or a glitch that hasn't been
3:48:57patched yet.
3:49:08Type in any number you want to on the
3:49:10calculator. Now press plus 0 * 0. Turn
3:49:13the phone sideways and click the open
3:49:15parenthesis button in the top left
3:49:16corner. Now you're ready to go. Have
3:49:18your spectator type in any series of
3:49:20calculations you want them to on the
3:49:21phone. They can multiply numbers. They
3:49:23can subtract. And whenever you have them
3:49:25press equals, it will always go back to
3:49:27that original number to completely blow
3:49:29their mind.
3:49:30>> What do you need?
3:49:31>> Pull up your calculator.
3:49:33>> Oh,
3:49:34>> this is the This is like the calculator
3:49:36thing is when I texted Boach.
3:49:37>> Ready?
3:49:38>> Yep.
3:49:39>> How many people's birthday birthdays do
3:49:41you know in this room? I I like the fact
3:49:43I don't know if you saw this that he
3:49:44just cleared his browser history. Anyone
3:49:45see that? That was a That was a prank
3:49:47move [laughter] right there.
3:49:48>> Good work, Jack. Good work.
3:49:50>> How many people's birthdays do you know
3:49:51in this room? Anybody? So, just think
3:49:53about the moves that you just learned.
3:49:54You know, you can see O is just turning
3:49:55it sideways now. Look how smooth this
3:49:57guy is.
3:49:57>> Uh Garrett's Garrett, you know, that's
3:50:00cute. You know his birthday. Okay,
3:50:02that's good. All right, tell me.
3:50:03>> Boom. Open parenthesis.
3:50:04>> Tell me, you know what? Don't even say
3:50:06>> Okay, so that's the trick. And then and
3:50:07you know, he's he's going to proceed to
3:50:09go around and ask everyone all kinds of
3:50:11different questions. You put in a random
3:50:13number. What's your birthday? Uh you
3:50:15know, what's the what's the the day your
3:50:17dog died? all all these just completely
3:50:19random uh pieces of information that are
3:50:21completely irrelevant obviously because
3:50:23of that gimmick. It's able to go
3:50:24[snorts] back to that original number.
3:50:26That's not the impressive part about
3:50:27that trick. I mean, although it is
3:50:28impressive how uh smoothly O did that,
3:50:31right? Look at look at this guy. Um look
3:50:33at how he's entering in the number right
3:50:34here.
3:50:35>> That was that was a problem.
3:50:37>> Checks that it can go sideways.
3:50:39>> How many people's birthdays do you know
3:50:40in this real
3:50:41>> puts in the number there
3:50:42>> and like that's it as he's talking to
3:50:44someone. So the number that he's putting
3:50:45in is actually the serial number of a
3:50:47bill that Taylor has just taken out of
3:50:50his wallet earlier and signed. And so,
3:50:53you know, even if you know this method,
3:50:54you might sort of still be impressed and
3:50:56think, well, damn. Like, well, maybe not
3:50:58impressed, but you might think like, oh,
3:50:59Taylor, he must be in on it. Or, you
3:51:01know, he must have given O must have
3:51:03given him the bill beforehand, and
3:51:04that's the one that Taylor is producing.
3:51:06It's not. Um, in fact,
3:51:09let's look at this. I'll show you show
3:51:11you the moment here.
3:51:14All we had to do is grab one bill. He
3:51:16comes up. Boom.
3:51:18>> Bam. Not mine. I won't touch it. Here's
3:51:20what I want you to take.
3:51:22>> Take take it. I don't want
3:51:23>> Did you catch that
3:51:25>> because O's just set up the trick in
3:51:27that moment.
3:51:28>> He just used what I can only call a
3:51:30slide of glance. I [laughter] mean,
3:51:32every other kind of glance move he's
3:51:33done has been a slide of hand move, you
3:51:35know, in conjunction with it. The the
3:51:37phone trick, the book trick, but in this
3:51:39case, he's getting a good look just
3:51:40right there as it's placed on the table.
3:51:42Look at this guy, man. He's so quick.
3:51:45>> Bam. Not mine. I won't touch it.
3:51:47>> Boom. Right there on the table.
3:51:48>> Take take it. I don't want to touch.
3:51:50>> He just memorized eight digits in that
3:51:52moment.
3:51:53>> You like if anything, you know, this guy
3:51:55sells a book where he says he's going to
3:51:57help you with memory and because that's
3:51:58one of the skills surrounding mentalism.
3:52:00And now you can see sort of the dual
3:52:01reality of what he means by that. But
3:52:03look at look at this guy, man. Like
3:52:04that's eight digits.
3:52:05>> Fine. I won't touch it. Here's what you
3:52:06do. I want you to take it.
3:52:08>> Boom.
3:52:09>> Take it. I don't want to touch it. I
3:52:10want to see it. Nothing. Take it over
3:52:11there. And then I don't want to touch
3:52:12it. I don't want to see it. Gets uh Taye
3:52:15to go, you know, take it into the
3:52:16corner. And then he sets up the the next
3:52:18thing. So this this is an instance
3:52:20where, you know, what we've been what
3:52:22we're going to look at, which is, you
3:52:24know, how does he have multiple
3:52:26different elements sort of come together
3:52:29uh at at the end. In this case, he's
3:52:31setting it up so beautifully. Gets the
3:52:33read of that dollar bill, and then he's
3:52:36going to use the calculator. So that
3:52:37that serial number, that's what he's
3:52:38going to put in the calculator. use the
3:52:39calculator gimmick to then invalidate
3:52:42whatever extra calculations people are
3:52:43going to put in there. So that answers
3:52:45how the calculator can arrive at the
3:52:46serial bill uh number, sorry, the bill
3:52:49serial number um in conjunction with the
3:52:51glance that he just did. But then look
3:52:53what he does with the deck of cards
3:52:54because he's going to have a deck of
3:52:55cards and it's just some cool little
3:52:57slide of hand. So let's just watch it
3:52:58while we're here.
3:53:00>> Fold it in half.
3:53:03Fold it in half and I want you to take
3:53:05it and do are how many pockets you got?
3:53:07What what did you just do right there?
3:53:08>> Nothing. Nothing at all.
3:53:11>> So good. You know, Will catches him
3:53:13doing something there. And his whole
3:53:14plan is like, think about it. He's got
3:53:16to run the show. He's got to tell Taylor
3:53:18what to do. He's got to have the cards
3:53:20in his hand. He's got to make sure that
3:53:23he doesn't forget a single digit from
3:53:26that bill's serial number. And now he's
3:53:28got to find those cards in the deck and
3:53:30and put, you know, get get the numbers
3:53:32that will match up with the serial
3:53:33number and make sure they're stacked at
3:53:34the top of the deck.
3:53:36all in front of everyone.
3:53:41>> What do you need?
3:53:42>> Pull up your calculator.
3:53:43>> All right. So, he gets a calculator.
3:53:46>> As I said, puts the digits in there. The
3:53:47serial number.
3:53:49>> Sorry, is the audio clashing? I forget
3:53:50about that.
3:53:53>> All right. So, it goes through all the
3:53:54random calculations. But then just look
3:53:56at this. Look at We got to come back to
3:53:58the cards.
3:53:59>> The month and the day. Now, hear me out.
3:54:01If the month was like uh December, do
3:54:0412. 01 or 1231, you get it. So, try to
3:54:07make the number.
3:54:07>> It's so brilliant to use the the
3:54:09misdirection of the whole all of these
3:54:11calculations that are going into the
3:54:12calculator to literally just get away
3:54:14with ordering the deck right in front of
3:54:16everyone.
3:54:17>> Either three or four digits. You already
3:54:19hit times. Put in that three or four
3:54:20digit month and year. Let me know when
3:54:23you've done it.
3:54:26>> Did you do it?
3:54:27>> You need a year.
3:54:28>> No, no, no. My bad. Like just a month.
3:54:30So, you got this times this and to one
3:54:32[clears throat] more person. You decide.
3:54:34Anybody out there, who are you going to
3:54:35hand it to?
3:54:36>> Did you keep up?
3:54:37>> Hold on. So you if it's like,
3:54:38>> look at this. Look at these guys.
3:54:40They're just staring at the guys putting
3:54:42in these calculations while O just sets
3:54:44up the next part of the trick.
3:54:46>> January be 01.
3:54:47>> Yep. You already did it, right?
3:54:51>> He's ordered the deck now, right? So
3:54:53he's he's lined that up to match the
3:54:55serial number.
3:54:56>> Double these up whenever you want. I'm
3:55:00gonna kind of have you yell out,
3:55:02>> look how clean that fake shuffle is to
3:55:04keep the top, you know, eight at least
3:55:06the eight, seven or eight, eight, nine
3:55:08cards on top of the deck. Look at how
3:55:10clean that false shuffle was.
3:55:12>> Whenever I'm going to kind of have you,
3:55:16[laughter]
3:55:16>> HE'S SO GOOD.
3:55:18>> WORD.
3:55:19>> STOP. Do you see what I'm saying? I'm
3:55:20going to let them fall and I want you to
3:55:22say stop whenever you want.
3:55:23>> Stop.
3:55:23>> Right there. Try to hit it right that
3:55:25moment. Right there.
3:55:26>> A little bit more. A little bit more.
3:55:27>> Okay. You know what? I have a better
3:55:28idea. Take and I want you to do it while
3:55:30it's in your hand. See what I'm saying?
3:55:32Take I want you to feel it. Listen to
3:55:34me. I want you to be able to feel. So
3:55:35you lift exactly around. Take the cards
3:55:36in your
3:55:37>> Oh my goodness. Oh my good. Like
3:55:40>> your hands and listen to me. You can
3:55:42lift a little or a lot, but I want you
3:55:44to feel like it's the right amount. Lift
3:55:45a chunk. No. No. In your hands. You you
3:55:47you're in you're in charge. I can't do
3:55:49something for you, but you got to do at
3:55:50least like a few cards. You have like
3:55:52some oomph. Is that Does that feel
3:55:53right?
3:55:53>> Feels good.
3:55:54>> The psychological principle here is
3:55:55really important.
3:55:56>> Are you sure?
3:55:57>> Yes. put them down the table. Wherever
3:55:59you cut, like put No, no, no, no. Like
3:56:01put the top half. Yeah. Like wherever
3:56:03chunk you take off, put it on the table.
3:56:05>> So, just to remind you, so that the
3:56:07these have all been false shuffles.
3:56:08Everything that Oz has just done with
3:56:09the cards um to the degree that he's
3:56:11mixed them up, he's left uh the the
3:56:13cards on the top of the deck to match,
3:56:15you know, it's the it's the sequence of
3:56:17numbers that he glanced at earlier.
3:56:19>> Take a chunk, put on, and then take the
3:56:20other half, turn it sideways, and mark
3:56:22the cut.
3:56:22>> Get it? Boom. Now, watch this.
3:56:25>> Look at that. And so he's technically
3:56:27cut the deck and Oz has used this
3:56:29language, mark the cut. So rather than,
3:56:31you know, losing the cut, he's got that
3:56:33second pile and he's turned it sideways.
3:56:35Look at what O does when he comes back
3:56:36to it because these cards right here on
3:56:38the top are not going to be uh the ones
3:56:41that line up with the serial number. And
3:56:42yet that's where Will has technically
3:56:44cut. And so he just inserts a little bit
3:56:46of time here so that when he comes back
3:56:48to the cards, look at what happens.
3:56:49>> A million something.
3:56:50>> Yeah. Yeah. Eight. Okay. So let's do
3:56:51this one at a time. I'm going to let you
3:56:53do it right at the exact point you cut.
3:56:54Tell us what's the first digit
3:56:56>> on the like the biggest number.
3:56:57>> Yeah, the whole thing. What's what's it
3:56:58start with?
3:56:59>> Two.
3:57:01>> Isn't that brilliant to to essentially
3:57:03undo his cut by having the marked cut?
3:57:06Super great. And you know, of course,
3:57:07when you space that out, you know,
3:57:08through a minute of misdirection and
3:57:10going back to the calculator trick and
3:57:11by having all these different tricks
3:57:12sort of go on at once. And then, yeah,
3:57:14of course, the um the numbers here of of
3:57:17the cards are going to obviously line up
3:57:19with the final result of the calculator.
3:57:20But let's see him bring it back to that
3:57:22dollar bill or whatever bill it was.
3:57:27>> Did you feel when I
3:57:31>> No, it's not same one.
3:57:32>> Yeah, same one.
3:57:33>> Check. Check if you signed it.
3:57:35>> Yeah, it's signed.
3:57:36>> You know who else signed it?
3:57:37>> Who?
3:57:38>> The government. Do me a favor. Read us
3:57:41the serial number of that bill on the
3:57:42other side. One digit at a time.
3:57:44>> No.
3:57:45>> Hold the calculator up. Read the serial
3:57:47number.
3:57:52Yeah.
3:57:52>> 2 9
3:57:556 7 4 3 4 1
3:58:02>> and there's a zero at the end, but
3:58:04that's an O for O's. [laughter]
3:58:07[screaming]
3:58:17>> Credit to O man. It was such a great uh
3:58:19performance to think that that whole
3:58:21thing was set up in this one
3:58:23split-second moment that like that is
3:58:25the moment when when everything can go
3:58:27wrong is when Tay comes back, you know,
3:58:28with the bill
3:58:29>> to do is grab one bill. He comes up
3:58:31boom.
3:58:33>> Bam. Not mine. I want to touch it.
3:58:35Here's what you do. I want you take it.
3:58:38I don't want to touch it. I want to see
3:58:39it.
3:58:39>> So amazing, man. So good. That's so
3:58:43sacrificial as well. You know, you're
3:58:44opening yourself up to the instant
3:58:46replay when you do stuff on camera, to
3:58:48the slow motion breakdowns.
3:58:51I mean, you can look at that and you can
3:58:53be like, "Oh, it's just all powered by a
3:58:55calculator gimmick." Boom, boom, boom.
3:58:56But you can't deny that this guy is an
3:58:58absolutely incredible performer to
3:59:01control a crowd like that, to have that
3:59:02many moving elements, to still sort of
3:59:04mentally perform and memorize eight
3:59:06digits, eight digit numbers, you know,
3:59:09rig decks while people are looking at
3:59:11you. Crazy, man. Crazy.
3:59:28But to unlock the full potential of the
3:59:30iPhone calculator app, you must be
3:59:32willing to pay with your ethical
3:59:33integrity.
3:59:35You stand to lose your soul,
3:59:38but you stand to gain Joe Rogan's pin
3:59:41code.
3:59:42>> How'd I do, Joe? Is that your ATM pin
3:59:44code?
3:59:44>> Yeah,
3:59:48that's weird.
3:59:51>> I'm skeptical because I've got that PIN
3:59:53code in the mail.
3:59:56You know,
3:59:57>> he's calling his bank right now and be
3:59:58like, "Yo, do you know this? Has this
3:59:59guy been playing the long game?"
4:00:00>> Yeah. I don't like that.
4:00:02>> And I want you in your mind to imagine
4:00:03that you you type the first number
4:00:06>> my [ __ ]
4:00:07>> imagine you type in the first number.
4:00:09What is your code? Say start with the
4:00:11six. Start from the beginning.
4:00:13six.
4:00:16[screaming]
4:00:18[laughter]
4:00:18>> All right. Well,
4:00:19>> you can bleep it. You can bleep that
4:00:21whole thing cuz I'm not changing it.
4:00:25>> So, I hope you all know Oza's skills do
4:00:27not lie in being able to figure out
4:00:28information. They lie in tricking people
4:00:31into giving him that information. So,
4:00:33when we ask ourselves, how does O figure
4:00:35out someone's ATM pin code? The real
4:00:37question is, how does O trick that
4:00:39person into giving him their ATM pin
4:00:41code? And the window into that
4:00:43understanding is going to come from the
4:00:45view. No, that is not a Cohen.
4:00:47[clears throat] That is me thinking I am
4:00:49clever.
4:00:50>> You've ever seen I'm going to set the
4:00:52bar a different level. You asked me a
4:00:53question. What's his birthday? Are you
4:00:55ready? Whatever your ATM pin code, that
4:00:56fake one you made up. Write it down on
4:00:57here. Make sure no one can see it. Hold
4:00:58it close.
4:00:58>> Okay. So, that's the first clue. Uh, the
4:01:01fake ATM pin code. So, what's that?
4:01:03That's revealing a pre-show.
4:01:04>> To your heart. Close to your heart.
4:01:07>> No. No. Don't let them see. Don't let
4:01:08them see. Close.
4:01:08>> Let's see.
4:01:10Man, her reaction there. It's like,
4:01:14>> "No, no, don't let them see. Don't let
4:01:15them see." Close. Let anyone see.
4:01:17>> I could imagine these two in a sand pit
4:01:19at like 6 years old fighting over the
4:01:21blocks. That's what I saw just then.
4:01:22Sorry.
4:01:23>> You're making me a little nervous.
4:01:24>> In a good way. Hold it close to your
4:01:26body. I
4:01:26>> I don't want the black.
4:01:27>> You challenged me. You said, "Wow, I
4:01:28really can see her inner child
4:01:30>> of Ken." And then you asked me what's
4:01:31his last and then you asked me what's
4:01:32his birthday like. How could I even know
4:01:33that? Watch this. Tell us what is his
4:01:36birthday.
4:01:37>> December 25th.
4:01:38>> Oh my god.
4:01:38>> 12:25. 12:25.
4:01:41[cheering]
4:01:42>> Okay. So, what do we get from that
4:01:44information? This uh person here, Kim,
4:01:47has thought of a person before. O has
4:01:50gotten that using a gimmick notepad or
4:01:52post-it pad or a fake Google search,
4:01:54whatever it is, he's gotten that info.
4:01:55And then he's also gotten their
4:01:56birthday. And so, how does O's then,
4:01:59because she was asked to make up a fake
4:02:01ATM pin code, how can she be asked to
4:02:03make up a fake ATM pin code that is then
4:02:05going to align with Kim's uh birthday
4:02:08for the for the person that she chose?
4:02:10So, we are so blessed to have the fact
4:02:13that O is about to do something that uh
4:02:16actually fulfills the prophecy of these
4:02:18two being enemies in the sand pit.
4:02:21>> And are you ready? Are you ready for
4:02:22this? Wait, are you ready for this,
4:02:23Sarah?
4:02:24>> I'm done. I'm done.
4:02:25>> I'm going to make it the most amazing.
4:02:26your real code, isn't it?
4:02:29>> What?
4:02:31>> Again. [cheering] Stop again.
4:02:33>> That's two times now.
4:02:34>> You can't take her anywhere. I feel like
4:02:36>> no one knows my pin that came up.
4:02:41>> You [laughter] just said it on national.
4:02:42Why would you say IT ON NATIONAL
4:02:44TELEVISION?
4:02:45>> DAMN, she's shaking. Okay, so uh let's
4:02:49um skip over to a afterime show where
4:02:52Sarah explains what happened.
4:02:56Okay. So, the backstory that people
4:02:58don't know is we were asked to meet with
4:03:01him like 40 minutes prior to him being
4:03:03on the show.
4:03:04>> Yes.
4:03:04>> And uh by the way, in all of my years on
4:03:07any TV show, when a magician, an
4:03:10illusionist, a mentalist, whatever the
4:03:12people are, we've never had to preme
4:03:14with anyone.
4:03:15>> Well, it's usually part of their
4:03:16>> that's important to think about. I
4:03:17think, you know, uh it's not uncommon
4:03:19for magicians to go on TV shows and do
4:03:21magic tricks. What is uncommon is
4:03:24metadception. Uh this kind of pre-show
4:03:26dual reality stuff. This is not
4:03:28something that hosts are really sort of
4:03:31super familiar with. You could argue
4:03:32that Yuri Gella did it back in the
4:03:341970s, but ordinarily magicians believe
4:03:36that this is in in a way a kind of
4:03:38breaking of the magician's code. You
4:03:40don't use magic tricks to pretend that
4:03:42you have abilities that you don't really
4:03:44have, whether those are psychic
4:03:46abilities or whether they're superhuman
4:03:48reading body language abilities. So O is
4:03:50definitely pushing boundaries here.
4:03:52>> They're stick. It's like I've never met
4:03:54you before. We've never seen each other.
4:03:56>> He said in this meeting, you know, kind
4:03:58of like we're going to play like you
4:03:59came up with this. So it is funny that
4:04:01on the air he said come up with a pin
4:04:03and then just turned to me because I was
4:04:04the one that in a room he asked.
4:04:07>> And so even that, you know, just kind of
4:04:08giving her very soft instructions. We're
4:04:10going to play along. We're going to act
4:04:11like we're coming up with it on the
4:04:12spot. You're creating a soft stoogge in
4:04:14that moment
4:04:15>> to do these math equations. He said,
4:04:16"Well, it we're not going to use the one
4:04:18that in a room he asked to do these math
4:04:21equations." He said, "Well, it we're not
4:04:22going to use your real pin, obviously."
4:04:25And then he repeated that a couple
4:04:26times. It's not like we're going to use
4:04:27your real pin. So, we're coming up with
4:04:28like a fake pin. So, he kept reassuring
4:04:30me that I'm trying to come up with I
4:04:32think he used the word pin because it's
4:04:33a four-digit number. He needed a there
4:04:35was a trick involved and he had to get
4:04:36me to a four-digit number.
4:04:38>> Okay. So, she said a few really
4:04:41important things there. He takes her in
4:04:43a room and he has her do a bunch of
4:04:46equations that she says in her
4:04:48calculator. What does that sound like?
4:04:50That sounds like the trick that we've
4:04:51just seen with the iPhone calculator
4:04:54gimmick where you can use that exploit
4:04:56where you tilt it into scientific mode
4:04:57and you open parenthesis and then
4:04:59whatever calculations are put in after
4:05:00that don't alter the final result. Why
4:05:03would O be using that trick just on her
4:05:06right then in that moment? Because
4:05:08remember that this fake pin that she's
4:05:09coming up with is going to equal the
4:05:12birthday of that other host's choice of
4:05:16the person that she chose. That person
4:05:17has a birthday. And uh Sarah's pin is
4:05:20going or this fake pin that she's making
4:05:22is going to line up with that person's
4:05:23birthday.
4:05:23>> What's his last minute? You ask me
4:05:24what's his birthday? Like how could I
4:05:25even know that? Watch this. Tell us what
4:05:28is his birthday.
4:05:29>> December 25th.
4:05:30>> OH MY GOD.
4:05:30>> 12:25.
4:05:31>> 12:25.
4:05:32>> It's [cheering] weird. So O needs to
4:05:34control what random pin she comes up
4:05:36with. And so using that calculator trick
4:05:39uh is a really clever way to do that.
4:05:41But the real question still is how does
4:05:43he trick her into giving him her real
4:05:45pin.
4:05:46>> So he kept saying, you know, well,
4:05:49again, this isn't your real PIN. It's
4:05:51we're going to get to. But I had to he
4:05:53made us get our phones. All of us,
4:05:55everyone that came in, he said, do you
4:05:56have your phone? Can you go get it?
4:05:58Yeah. So we had to type things into our
4:05:59phone. I don't know if that's where the
4:06:01trick is or what, but we're having
4:06:02there's a point where he says you have a
4:06:04number now like subtract your real pin,
4:06:08but we're getting to your fake pin.
4:06:10We're going to be creating this fake
4:06:11pin. And he kept reassuring me. And when
4:06:13>> Okay, so there you go. It's one of those
4:06:15calculations as they're going through
4:06:17that process that he has Sarah actually
4:06:19enter her real pin. So now the question
4:06:22becomes, he's successfully tricked Sarah
4:06:24into exposing her real PIN. How does O
4:06:27read that information? And the answer to
4:06:30that is this.
4:06:33>> So, I don't know if anyone uses the
4:06:35calculator app as much as I do for a lot
4:06:38of my work stuff, but uh finally they
4:06:41have added this feature up here with the
4:06:43hamburger up here and you can see your
4:06:45history.
4:06:47Man, that makes so much things so much
4:06:49easier for me to go back and look at
4:06:50numbers that I just typed in.
4:06:54>> Check it out.
4:06:54>> So, put in that number now. Make up
4:06:56another number.
4:06:56>> Okay. Do you remember what the other
4:06:58number was? Plus
4:06:59>> plus
4:07:00>> the passcode number.
4:07:02>> Then hit equals.
4:07:06>> And just to make sure you think that
4:07:07maybe somehow that that would give me
4:07:09information. Hit clear.
4:07:11>> Clear.
4:07:12>> Now this is all I do when I take the
4:07:13phone. I say here, I'm going to close
4:07:15your phone cuz even seeing zero doesn't
4:07:17give me any information.
4:07:18>> I get my thumbs in a ready position near
4:07:21the equals and the clear. Yeah,
4:07:22>> if I hit equals, the first thing that's
4:07:24going to pop up is the last number you
4:07:26entered.
4:07:27>> Oh,
4:07:28>> and then I hit clear to clear it out.
4:07:31>> So, so that was the part that blew me
4:07:32away because the window of time that you
4:07:34have is so unbelievably small.
4:07:37>> In a moment, you push one button, you
4:07:39see the number, take it back to zero,
4:07:40and hand it back to me. Now, if you want
4:07:42to, as a magician, I like to when I
4:07:44perform,
4:07:46>> when you're on this journey of
4:07:47uncovering how these illusions work,
4:07:48it's important to stand guard against a
4:07:50cognitive tendency that we all have that
4:07:52magicians and mentalists exploit all the
4:07:53time to make their tricks very, very
4:07:55difficult to figure out. And that's the
4:07:56tendency to universalize. So, we just
4:07:58figured out that O was able to reveal
4:08:01Sarah's pin because he had previously
4:08:02tricked her to type it into her
4:08:04calculator app as a series of
4:08:05calculations. And then he was able to
4:08:07peak at those calculations shortly
4:08:09thereafter. The temptation then is to
4:08:11universalize and say that therefore
4:08:13every time O's reveal someone's pin
4:08:15code, it's because he's previously
4:08:16tricked them into typing it into a
4:08:18calculator app. The mistake there is
4:08:21that all a magician has to do is to
4:08:24reveal someone's pin code using a method
4:08:26that doesn't rely on that calculator app
4:08:28and then you risk throwing the baby out
4:08:30with the bathwater. So remember Pen and
4:08:32Tella spoke earlier about one of the
4:08:34most powerful illusions is to actually
4:08:36do what looks like the same illusion
4:08:37using two different methods. And the
4:08:40audience will see these methods as
4:08:42self-cancelling.
4:08:43And so I cpped a lot of flack because
4:08:46with Joe Rogan, I was very open to the
4:08:49possibility that O had hired a private
4:08:52investigator to discover what Rogan's
4:08:54pin code was. And I was much more open
4:08:56to that possibility because I didn't
4:08:58actually I was laboring under a
4:08:59misconception that there wasn't any
4:09:01pre-show work that O essentially came
4:09:02in, sat down, and then did all the
4:09:05tricks with Rogan on the podcast. This
4:09:07is a silly thing to think because in
4:09:09like the first like three seconds of the
4:09:11podcast, Rogan says this.
4:09:18>> The Joe Rogan Experience.
4:09:21>> TRAIN BY DAY. JOE ROGAN PODCAST BY
4:09:23NIGHT. All day.
4:09:28>> Oh, yep. All right.
4:09:30>> Surreal.
4:09:30>> Dude, you've only been here for 20
4:09:32minutes. You already freaked me out.
4:09:34[laughter]
4:09:34>> Just freaked out. So, while I do believe
4:09:37that the best explanation is that in
4:09:39that first sort of 20 minutes or so, O
4:09:41did some kind of calculator trick with
4:09:43Rogan where he was able to glean his pin
4:09:45code and then hung on [snorts] to it
4:09:46later where he's going to reveal it, you
4:09:48know, 25 minutes later. Uh the problem
4:09:51though is that when we were talking
4:09:53about the private investigator and you
4:09:54know um really intelligent people like
4:09:56Warren from Secret Scholar Society, he
4:09:59said a similar thing, much more open to
4:10:00this possibility of a private
4:10:02investigator. the people who now maybe
4:10:04feel vindicated. Um, if your reasoning
4:10:08that a private investigator wasn't used
4:10:10is because it would be unreasonable for
4:10:12OE to use that as a method all the time,
4:10:15then that's not the correct way to think
4:10:17about this and you're going to fall
4:10:18victim to the strategy that Pen and
4:10:20Teller are talking about. It's actually
4:10:22completely reasonable for OE to use a
4:10:24private investigator in my view and
4:10:26that's because Joe Rogan is frequently
4:10:27at the mothership. Um, there is
4:10:29technology out where you can get that
4:10:31heat map of, you know, what someone has
4:10:32typed in. Um, I don't know how it works
4:10:34in the United States. I know that we
4:10:36don't use pin codes very often, but at
4:10:38least here in Australia, if you're
4:10:39purchasing a very expensive item, then
4:10:42you do have to uh use your PIN code. I
4:10:44know that Joe Rogan regularly shouts
4:10:46dinner for people. And so, it's
4:10:48conceivable that he would actually have
4:10:50to have entered his PIN code at the
4:10:52Mothership, for example. And that might
4:10:55all seem sort of far-fetched and maybe
4:10:57it would cost 10, 15, $20,000 in order
4:11:00to get Joe Rogan's pin code essentially
4:11:02by spying on him and waiting for him to
4:11:05use it. But if you think about it
4:11:07economically in terms of the principle
4:11:08that Penantella has spoken about, it's
4:11:10actually a completely reasonable thing
4:11:12to do. That is O Pullman's most viral
4:11:14moment. Uh you can't put a price on a
4:11:17moment that goes viral in that way. You
4:11:20know, companies will pay $30, $40,000 to
4:11:23have Rogan read out an ad that people
4:11:25are going to skip by. So, how much do
4:11:28you think it's worth to have a viral
4:11:29moment that gets, you know, put into a
4:11:31clip and played millions upon millions
4:11:34of times? It's like easily worth
4:11:36hundreds of thousands of dollars, if not
4:11:38more. And so, at that point, oh yeah,
4:11:40you're going to spend $20,000 on a
4:11:42private investigator to get a pin code.
4:11:44Like, absolutely. That's a great
4:11:45investment to make. Now, it's not the
4:11:47one that I think O did. do think that he
4:11:49just tricked O uh he tricked Joe into
4:11:50using the calculator app. But if O was
4:11:53really thinking if he was to use that
4:11:56kind of method and then he could really
4:11:59milk everything like he could come into
4:12:01the show and have Joe say that there was
4:12:03absolutely no pre-show. Do you know what
4:12:05I mean? he could absolutely just shut
4:12:07down so many different angles and
4:12:09because of our tendency to universalize
4:12:12all of these other completely reasonable
4:12:14explanations like the calculator app
4:12:16that we now have people would just
4:12:18completely undermine them because well
4:12:20what about that instance on Rogan where
4:12:21blah blah blah blah blah you see where
4:12:23I'm going with this so you have to be
4:12:25careful when you're figuring out these
4:12:26illusions to not think that a method is
4:12:29supposed to universalize and maybe a
4:12:31good example of this is the envelope
4:12:32trick
4:12:38date and we were just locking in all the
4:12:39details. You emailed me or you texted me
4:12:42and said, "I'm sending you this FedEx. I
4:12:44just want you to keep an eye out for it
4:12:46and when it arrives, I want you to not
4:12:48open it, but I want you to sign your
4:12:50name on it and date it."
4:12:51>> Exactly.
4:12:52>> Write the date that you received it.
4:12:53>> Do you have it?
4:12:54>> Yes. It's like right over there. Can you
4:12:56guys when Jason bring that over
4:13:01>> Josh? Okay,
4:13:03>> think of somebody famous. Okay, you guys
4:13:05have never had on the podcast. Don't let
4:13:07me influence you.
4:13:08>> Forget the names I said. It's going to
4:13:10get in his head now.
4:13:11>> Somebody famous that you find
4:13:12fascinating. Now, listen to me. This
4:13:13could be somebody that you're a huge fan
4:13:15of. This could be somebody that you
4:13:16never met before. This could be somebody
4:13:17you want to meet. Whatever you want.
4:13:19Somebody that you find absolutely
4:13:21fascinating. Go hit it. Who'd you think
4:13:24of? Say it out loud. Anybody. But before
4:13:26you say it, that last moment, the same
4:13:27way that Dave could have picked any word
4:13:29on that page, you could change your mind
4:13:31till the last moment. Go. Who'd you
4:13:33think of?
4:13:35>> Will Smith.
4:13:36>> Good one, man. He was in here.
4:13:37>> That is a really good one.
4:13:39>> Okay, so in this case, Oz is asking
4:13:40people a bunch of different questions, a
4:13:42huge variety of questions, and he's
4:13:44writing down their answers. Now, these
4:13:45are genuinely free choices. Uh, for the
4:13:48most part, what we're seeing,
4:13:49>> that word made you think of a new word.
4:13:50>> Mhm. So, now we have two levels of
4:13:53separation, right? This is like we're
4:13:55getting all the way to Kevin Bacon.
4:13:56>> Yeah.
4:13:56>> You got another word in mind right now.
4:13:58>> Yes.
4:13:59>> One more time. Jump from that word to a
4:14:01new word.
4:14:05>> Tell us all what is that word? I want to
4:14:07know. I'm not guessing it.
4:14:09>> Enlightenment.
4:14:10>> Enlightenment.
4:14:11>> And he's writing down this uh their
4:14:13responses on this piece of paper that
4:14:14he's actually going to then try to feed
4:14:16into this apparently sealed envelope.
4:14:18And so we won't sit here as he goes
4:14:20through um all of these questions, but I
4:14:22will get to the point where he's going
4:14:23to use the the side of hand to to get
4:14:25what he's written into that envelope.
4:14:27>> Pork L.
4:14:28>> Pork Lain. Good. Okay, let's do it. Is
4:14:30that thing sealed?
4:14:31>> It's sealed.
4:14:31>> And I wrote Teal and I spelled your name
4:14:33right. I wrote down every single
4:14:34person's name. Josh Richards, right?
4:14:37>> Canadian. I'm married to a Canadian. Rip
4:14:39it open.
4:14:39>> Shout out.
4:14:40>> Oh, go Canadians.
4:14:42>> Tear the tap. Rip it open.
4:14:44>> That thing is sealed, baby.
4:14:45>> Is it sealed? Show them. Is there any
4:14:47conceivable way that somebody working
4:14:49with you could have switched the
4:14:51contents
4:14:54or inserted something in or taken
4:14:55something out?
4:14:56>> This is my name and I dated it and this
4:14:58has not been open and I and this as soon
4:15:00as it came in I did this.
4:15:01>> Perfect. Now we see what I found in
4:15:03there.
4:15:04>> There's another sealed envelope.
4:15:05>> What's inside?
4:15:06>> Another very very sealed envelope.
4:15:09>> Sealed envelope. I don't want to mess up
4:15:10the nails. They're looking very good.
4:15:11Let me ask you just so I know the
4:15:13situation here with the mic. If I uh if
4:15:15I move over, can I move the mic as well?
4:15:17How will this work?
4:15:18>> Yeah, you can move the mic with you.
4:15:19>> I'm gonna do this. I'm gonna give you
4:15:20this slice.
4:15:22>> So, there's good sort of misdirection
4:15:23here with the prop. By having this
4:15:24envelope appear really, really sealed.
4:15:26Uh it kind of masks the fact that uh
4:15:29there's something a little bit dubious
4:15:30with what's inside it.
4:15:31>> This is
4:15:32>> tear it open as well, please.
4:15:33>> Okay.
4:15:35>> Now, Rich, if you've learned anything
4:15:36about me from this point, it's I'm
4:15:38nothing if not methodical. So, now we
4:15:40got [snorts] one more layer. Done,
4:15:42>> dude. Okay. Now I know. Now I know you
4:15:44guys didn't mess with myself.
4:15:45>> This is a This is a manila envelope with
4:15:47my name and my logo on it.
4:15:48>> Bam. We got the logo, baby. We taped it
4:15:51like crazy. And that is why I brought a
4:15:52safety light open. You're like, "No,
4:15:53it's You'll see what I mean." But I want
4:15:55you to open it. You open it up.
4:15:58>> There's two things in there. Now freeze
4:15:59right there.
4:16:00>> I don't know where this is even.
4:16:01>> Slice into like You do it. You do it.
4:16:03Break. You know what? Can I get you uh
4:16:06uh Yeah. to slice the top of
4:16:07>> Is he a wizard?
4:16:09>> And that is why I brought a safety light
4:16:10up. You're like, "What did you take out
4:16:11of your pocket? be able to open this
4:16:13without that.
4:16:14>> Slice it open, Rich.
4:16:16>> How do you use this?
4:16:19>> Oh, I got it. I've never used one of
4:16:22those.
4:16:22>> Now, there is a safety seal. Can I show
4:16:24them this? I can see this.
4:16:27>> All right,
4:16:27>> Joe. Like that.
4:16:29>> Now, now straight up, before we do this,
4:16:30open that up so they can see what's
4:16:31inside of there. Was there anything else
4:16:32in there?
4:16:34>> Nothing. Absolutely nothing else in
4:16:35there.
4:16:36>> Okay. So, in that moment, if you just
4:16:38look at what Oz was doing is he was uh
4:16:40getting that prediction into his hand.
4:16:42>> What's inside of there? Was there
4:16:43anything else in there?
4:16:45>> Nothing. Absolutely nothing else in
4:16:47there.
4:16:47>> So, he's just getting it out of his
4:16:48pocket and into his right hand.
4:16:50>> Empty.
4:16:50>> And that one. Can you just hold it up?
4:16:52If we could just hold that up for a sec.
4:16:53Uh, can I get closer to you? Is that
4:16:55okay?
4:16:55>> Yeah.
4:16:55>> So, it's in his right hand right now.
4:16:57>> Oh, no. I'm sorry. My bad. Inside.
4:16:58Inside.
4:16:59>> Look at that ballsy move. So, huge
4:17:01amount of information going on right
4:17:02here. So, it's in in Oz's right hand as
4:17:05he uh grabs her elbow, which seems a
4:17:07little invasive, but I guess he's
4:17:08getting away with it. And uh here is
4:17:10where the prediction envelope lies. And
4:17:11you can see how there's a a slit there.
4:17:13So, it's not actually completely sealed
4:17:14shut. And we're going to see why. We're
4:17:16going to see Oz's justification for
4:17:17that. Uh but then I think we're going to
4:17:19see what I think to most people is a
4:17:21pretty obvious uh slide of hand move
4:17:22where he's going to feed that envelope
4:17:24in or feed the prediction in. Sorry.
4:17:26>> This thing is like Do you see the
4:17:28colors? Can you tell them what do we
4:17:29got?
4:17:29>> Yeah, we got pink and blue.
4:17:31>> The the the blue. Do you see the blue
4:17:33one?
4:17:33>> Yeah.
4:17:33>> And can you confirm the seal is intact?
4:17:37So, can you see what I'm talking about?
4:17:38>> Do you see it? Grab it. Grab it. I don't
4:17:40want to
4:17:40>> this thing. The seal. Take it out,
4:17:42please. Safety seal.
4:17:43>> This thing.
4:17:43>> Yeah. It should be attached to the
4:17:44staples. Grab it out, please. All the
4:17:46way. All the way.
4:17:47>> Look inside.
4:17:48>> Okay.
4:17:48>> I want you to look inside. And before
4:17:50you grab it. No, no, no. Look, look,
4:17:51look, look, look. I'm looking.
4:17:52>> And tell me, you see it says two words.
4:17:54Can I turn this around? Let me see.
4:17:55>> Joe Rogan.
4:17:56>> It says Joe Rogan. And I don't want to
4:17:57touch. Will you do it? I don't want to
4:17:58touch. Grab.
4:17:58>> So, you fed it in just then.
4:18:00>> The pink. I don't want to touch it. Grab
4:18:01the pink one out. If that thing comes
4:18:03out without ripping, it means security
4:18:04seal is intact. It means that around the
4:18:07top it was st
4:18:08>> Okay. So, what he calls a security seal
4:18:10is actually a misdirection. Uh, pretty
4:18:13pretty strange sort of concept really,
4:18:15but I guess it works. Uh, he's just got
4:18:17the envelope in there is kind of held
4:18:19open like we saw in that shot where he
4:18:21was grabbing her elbow.
4:18:24>> So, it is open. It's held open by this
4:18:26security seal. And what it has is kind
4:18:29of essentially just has uh staples sort
4:18:32of done on either side of it like this.
4:18:34So it's stapled here and then it's
4:18:35stapled here. And then there's
4:18:36essentially sort of rubber cement or
4:18:38some sort of strong adhesive that
4:18:39separates the two. But if you were to
4:18:41connect them, then the staples line up
4:18:43so that it actually looks like it's
4:18:44stapled shut. Does that make sense? Of
4:18:46course it does. And so, uh, what you're
4:18:49seeing here is that when O pulls out the
4:18:51security or when, sorry, Bri pulls out
4:18:53the security seal, he's already loaded
4:18:55the prediction in in that sort of ugly
4:18:57side of hand move that we saw right
4:18:58there.
4:18:59>> You see the blue one in there? The pink.
4:19:00I don't want to touch it. Grab the pink
4:19:01one out.
4:19:02>> But then watch him uh squeeze the
4:19:04adhesive together.
4:19:05>> If that thing comes out without ripping,
4:19:06it means security seal is intact. It
4:19:08means that around the top it was stick.
4:19:10And is it okay? So, it didn't rip. So,
4:19:13all right.
4:19:14>> And is it okay? So, it didn't rip. So,
4:19:17and read to us. Grab that. That's your
4:19:18pass. Hold on to this.
4:19:21And read to us. Grab that. That's your
4:19:23pass. Hold on to this. Mean security
4:19:25seal is intact. It means that around the
4:19:27top it was stapled. Will you grab this
4:19:28out yourself?
4:19:29>> And that thing is sealed. Is that thing
4:19:31stapled everywhere?
4:19:32>> Every single inch.
4:19:33>> Couldn't have gone into if this was
4:19:34everywhere.
4:19:35>> Every inch is stapled.
4:19:36>> BFFs baby represent.
4:19:37>> Still intact and secure. It was It was
4:19:39stapled.
4:19:39>> St. Well, check. It was attached to the
4:19:41staple. So, grab it yourself. I don't
4:19:43want to touch that one. Brit roll yet
4:19:44again.
4:19:45>> It's another Stapled everywhere.
4:19:47>> All right. Another light blue envelope
4:19:50stapled all the way.
4:19:51>> Is it sealed? Was this Is there any way
4:19:54anybody could have put something in,
4:19:55taken some out, switched all this stuff?
4:19:57>> No. Only if you could freeze time.
4:19:58>> Free. It's like that old school show.
4:20:00Rip it open.
4:20:02>> All right.
4:20:03>> Oh my god. What's in here?
4:20:05>> Rip. Rip it open.
4:20:07>> So having them rip it open is good as
4:20:09well because it's messy and it's a you
4:20:10know, you're essentially tearing up the
4:20:12evidence as you do that.
4:20:13>> And right there is a sheet of paper.
4:20:15Hold on. Before you do, hold your hand
4:20:17tight.
4:20:17>> She's got that in her hand. So Dave,
4:20:19when you remember this later and you're
4:20:20thinking about this, she's got that in
4:20:21her hand. If there was any tricks of
4:20:22anything could happen, you're holding
4:20:23this right now. Imagine that we spin a
4:20:26globe. Okay, Bri, and we stop the globe
4:20:29and we put our finger on one spot and
4:20:30you go, "Oh my god, God, I want to go
4:20:32there." Number one place in the world. I
4:20:34want you to close your eyes like you
4:20:35could visualize. You're looking at a
4:20:36picture. Number one place in the world
4:20:37city you'd love to go. You never been.
4:20:39Say it. Where'd you think of?
4:20:40>> Amsterdam.
4:20:41>> Amsterdam. Open up that piece of paper.
4:20:43>> Okay. Okay, so this is what I'm talking
4:20:45about with you. You have to stand guard
4:20:47against our tendency to universalize
4:20:49because what Oz is doing right there is
4:20:51different to everything that he just did
4:20:53where he asked people these super
4:20:55bizarre, super detailed questions and
4:20:57then is literally writing down what
4:20:58they're saying on this piece of paper
4:21:00that we just saw him feed into this
4:21:01envelope. But now he's asking Bri a
4:21:04question without writing anything down.
4:21:07And so if you're going to assume that
4:21:08he's using the same method the whole way
4:21:10through, well then you're going to throw
4:21:12the baby out with the bath water and
4:21:14miss everything that we've just
4:21:15analyzed. So that's the exact principle
4:21:17that Pen and Teller are talking about.
4:21:19Use what appears to be the same trick
4:21:20using two different methods and the
4:21:22audience perceives those things to be
4:21:24self-cancelling. So what did he do just
4:21:25then with Bri? He clearly used those
4:21:28inconspicuous links where he's going to
4:21:30bring her mind back to something that
4:21:31they've done before the show. in this
4:21:33case, some sort of uh famous or or
4:21:35sorry, favored destination that Bri
4:21:37wants to go through. It's a line that
4:21:38I've seen O use multiple multiple times
4:21:41on different shows.
4:21:41>> Hold your hand. Imagine you got a globe
4:21:43in your hand.
4:21:43>> A globe?
4:21:44>> Yeah. Like you got the world in your
4:21:45hands.
4:21:46>> Mhm.
4:21:46>> It's just because it has such very clear
4:21:48and strong links. Uh when you talk about
4:21:51something like that with someone before
4:21:52the show and you mention, hey, spinning
4:21:53a globe, choosing any place you want,
4:21:55your favorite destination,
4:21:56>> the number one place in the world you
4:21:58would love to travel to. Number one
4:21:59place in the world you would love to
4:22:00travel to. Can you imagine yourself
4:22:02being there?
4:22:03>> Yep.
4:22:03>> Really easy to to trigger that memory
4:22:05and bring it back to them. So that's the
4:22:07mixed methods that we're seeing here.
4:22:08>> Okay.
4:22:10>> Then pull this out. It's some note in
4:22:11there.
4:22:12>> Sitting there waiting for you. February
4:22:1328th.
4:22:13>> All right.
4:22:15>> And I'd like you to stop. Stop. Before
4:22:17we do this, put it against your body.
4:22:18You haven't read it yet, have you?
4:22:19>> I've not read it. No.
4:22:20>> You're sitting across from me. How many
4:22:21podcasts have you done?
4:22:23>> Uh, we've published 666
4:22:26>> as of this moment. It might change. I
4:22:27want you to close your eyes.
4:22:29>> Close your eyes for me for just a
4:22:30second. You're holding this in your
4:22:31hands. It's not going to change. It's
4:22:32been in there since February 28th. Close
4:22:34your eyes and imagine sitting across
4:22:35from you. I like to call this the
4:22:36ultimate
4:22:38interview because you're a person who
4:22:39explores. You want to get in depth. You
4:22:40want to hear those moments. And I say to
4:22:42you, if you could, I ask people this
4:22:43question all the time. If you could have
4:22:45dinner or in your case interview
4:22:47somebody famous, we've all heard of dead
4:22:48or alive, male or female. And the reason
4:22:52I have you close your eyes cuz like it'd
4:22:54be like googling this person. A picture
4:22:55is worth a thousand words. See that
4:22:57person's face in your mind right now.
4:22:59Can you see that person's face like
4:23:00they're in the room with you
4:23:02>> as if he or she is sitting across from
4:23:03me? Say their name.
4:23:06>> Abraham Lincoln.
4:23:07>> Read what's in your hand. Open it up,
4:23:09please.
4:23:12Finish line in 728.
4:23:16[laughter]
4:23:18Could see you diving deep into a
4:23:20biography of Abraham Lincoln only,
4:23:26dude.
4:23:28and plants and enlightenment.
4:23:31Oh, that is unbelievable.
4:23:36It didn't quite get fully explained, but
4:23:38before the podcast started, we did an
4:23:40exercise where you asked me to go on my
4:23:42phone and go into Google image search
4:23:45and think of somebody to that dead or
4:23:48alive who would be a great podcast
4:23:50guest. Yeah. And I just thought that I
4:23:53randomly selected Abraham Lincoln. And I
4:23:56have it down. You didn't look at my
4:23:58phone.
4:23:59>> I'm over here.
4:24:00>> Yeah. You didn't look at my phone.
4:24:01>> It doesn't really matter if I didn't
4:24:03This is
4:24:04>> And and here was the picture
4:24:07up on my phone
4:24:08>> a couple hours ago before the podcast
4:24:10even started.
4:24:12>> That's crazy, man. That is unbelievable.
4:24:16I thought I I thought I had you. I
4:24:18thought I was immune from your wilds.
4:24:21>> Rich teal, you said what number?
4:24:24>> Five.
4:24:25>> Read what I fold and stable. Nice and
4:24:28loud, nice and slow.
4:24:29>> Thanks for having me on the show. BFF's
4:24:31podcast is going global and kicking off
4:24:33a five city tour in beautiful Amsterdam.
4:24:37Our first guest is none other than
4:24:39>> So there you go. He goes through all of
4:24:40the predictions and that's how that
4:24:42works.
4:24:45Of
4:24:52the magic tricks that we've looked at so
4:24:53far, the vast majority have involved
4:24:55people having genuinely free choices.
4:24:57Free choices that O can peek at using a
4:24:59gimmick notepad or a fake Google search
4:25:01page and reveal to them later, or free
4:25:03choices that he can pretend to have
4:25:05anticipated using a thumbwriting pen or
4:25:07a magic chalkboard. But what about those
4:25:09times when O makes predictions that are
4:25:11just so elaborate that there's no way he
4:25:14could be doing it in the spur of the
4:25:15moment?
4:25:16>> Or Clouse.
4:25:17>> Campbell soup.
4:25:21>> Campbell's
4:25:23soup. The I'll go with Campbell Soup.
4:25:26>> Holy. I can't even say this.
4:25:30>> What if you had picked what?
4:25:33>> I don't I just said Lego.
4:25:34>> Lego.
4:25:35>> I was think of a company I don't know
4:25:36the CEO of. If you were to pick Lego,
4:25:38then Joe, I think we're ready to go. I
4:25:40think I'm ready if you were to pick
4:25:41Lego.
4:25:46>> Okay.
4:25:47>> Those kind of predictions where it looks
4:25:49like the only explanation is that people
4:25:51must be in on it and kind of cooperating
4:25:53with those.
4:25:54>> But we're going to make this the most
4:25:55amazing thing you've ever seen your
4:25:57life. Each of you made a choice. They
4:26:01each wrote down a letter and you wrote a
4:26:03state. Please, turn around yours. It's
4:26:05Z. Turn around. A
4:26:07>> Oh my god.
4:26:08>> And N Y is what's written down by them
4:26:12>> because I've been playing the long game.
4:26:15>> Sal's pin code, which only his wife knew
4:26:17was 6402. And I'm about to turn your
4:26:20world upside down because that number
4:26:21upside down. Get out of here.
4:26:25>> Get out of here.
4:26:26>> How is that possible?
4:26:29>> Those tricks where multiple people make
4:26:31multiple choices that all perfectly
4:26:33coales towards one final reveal. What
4:26:36are the letters?
4:26:36>> L G R
4:26:40>> What was the word?
4:26:41>> Logger.
4:26:43>> Are you serious?
4:26:45>> You know what you said? How do you make
4:26:47this legendary? Forget Fanta. We got for
4:26:49you right over here. Uh,
4:26:52>> no [ __ ] way.
4:26:56>> I just broke my sobriety.
4:27:00>> Yeah,
4:27:01>> you could have said you could have
4:27:02picked anything, right? I don't know
4:27:03you. You said Fanta F.
4:27:06>> Yeah.
4:27:08>> A.
4:27:10And you picked any three letters were L
4:27:13G Ruously offensive.
4:27:18>> A N T. Flagrant is exactly
4:27:21what
4:27:24[laughter]
4:27:25>> that is so fired.
4:27:26>> Well, you're actually not too far away
4:27:28from understanding how those effects
4:27:30work. You just need to understand a new
4:27:32kind of magic trick that OE uses in the
4:27:34pre-show.
4:27:35>> And so I thought of go-kart because I
4:27:37thought what would be a personal thing
4:27:39that Yeah. that he would remember that I
4:27:42would remember.
4:27:43>> You mean anyone watching thinks that
4:27:45you're in
4:27:46>> They think you're colluding cuz I want
4:27:49everyone to know there's zero collusion.
4:27:51I can't even fathom. How did you even
4:27:54>> He's not going to tell you.
4:27:55>> It's an old idea, but it bears
4:27:57repeating. Just because a host says that
4:27:59there's zero collusion, that might be
4:28:01them being honest. Uh, but you have no
4:28:03idea when you've colluded with a
4:28:05magician who is doing magic tricks with
4:28:07you when you don't realize.
4:28:10>> Hold on.
4:28:10>> I don't know how to go from here. This
4:28:11one's supposed to be supposed to be the
4:28:12middle, not the finale. Joe, I had joked
4:28:14teed up, but now Andrew is having a
4:28:16breakdown on air.
4:28:17>> Hold on. Can I say this? This one's a
4:28:19serious situation.
4:28:20>> No, I know it is serious.
4:28:21>> This is at a whole other level.
4:28:24>> How do you
4:28:24>> Andrew is worried what else I know right
4:28:26now to be honest. That's right. Aka
4:28:28Jonathan. You know, I told you
4:28:29>> I thought there was
4:28:30>> So, in this trick, Oz is going to be
4:28:32making an elaborate prediction. And so,
4:28:34it's all about how can he steer these
4:28:36guys towards making the choices that he
4:28:38wants. Now, that's not what we're going
4:28:39to see here on stage. We know O uses
4:28:42pre-show metad, dual reality metad. So,
4:28:45he's already done the magic trick with
4:28:46these guys before the show. So, what
4:28:48we're looking for is a kind of
4:28:50indicator, a kind of glimpse into the
4:28:52past if someone can drop inadvertently
4:28:55some kind of description of what O's did
4:28:57with them when the cameras weren't
4:28:58rolling.
4:28:59>> No way. No way. You I figured you could
4:29:02guess the first part. Maybe. I mean,
4:29:03maybe. I don't know.
4:29:04>> You said AI is everything that we're
4:29:05talking about. You saw that.
4:29:06>> But still,
4:29:07>> don't do an AI company. Don't you dare.
4:29:09>> I won't. No.
4:29:10>> What did I ask you to do during
4:29:12commercial break? Hold on.
4:29:13>> That little interaction is really
4:29:14interesting. You notice the O says,
4:29:16"Don't you do an AI company. Don't you
4:29:18dare." That implies that Joe hasn't made
4:29:21the choice yet. But we know Joe has made
4:29:23the choice. And that would have been a
4:29:25really solid line, but it's it's when
4:29:27you kind of tread a little bit too hard
4:29:30and you actually end up confusing the
4:29:32host. If he says something like, "Don't
4:29:34you do an AI company?" Then they are
4:29:36also going to think, "Oh, so I'm not
4:29:37doing the company that I chose before. I
4:29:40have to come up with something new right
4:29:41now." O doesn't want him to do that. O
4:29:43wants him to recall the company that
4:29:45he's thought of before. So that's why O
4:29:47immediately kind of then seems to
4:29:49contradict himself by saying, "What did
4:29:50I ask you to do during the commercial
4:29:52break?" Making sure that boom, Joe is
4:29:54locked in.
4:29:55>> You had like a bunch of cards and they
4:29:57all were uh
4:29:58>> 100 companies. Here's how they
4:30:00>> And there it is. That's the only reveal
4:30:02that we're looking for. Joe says that he
4:30:04had a bunch of cards and owes then, you
4:30:08know, as he always does, uh, talks over
4:30:10him to, you know, shut him down from
4:30:13talking too much about what happened
4:30:15there. But if you don't know, uh,
4:30:17surprise, magicians are really, really
4:30:19good with cards. And if you think that a
4:30:21magician, you know, who's been doing
4:30:23card tricks for, say, 20 or 30 years,
4:30:26can't force you to choose the three of
4:30:28diamonds in a way that makes you think
4:30:30that you freely chose the three of
4:30:32diamonds, then uh watch something like
4:30:35this.
4:30:38Welcome to Las Vegas. I'm O Pearlman and
4:30:40this is Born to Perform Card Magic. I'm
4:30:43about to teach you the best of the best
4:30:44in card magic.
4:30:48need how to do card control, the double
4:30:50lifts, all different slights. We're
4:30:52talking color changes, flourishes,
4:30:55forces, everything you need to be an
4:30:57incredible card magician.
4:31:10So, that's really all there is to it. If
4:31:12OE needs to force someone to make a
4:31:14choice, the easiest way to do that is to
4:31:16just get a deck of cards and instead of
4:31:19having, you know, three or four, five,
4:31:20six of diamonds written on these cards,
4:31:22just write names on them or write
4:31:23players or companies or whatever it is
4:31:25that you need to force on someone. Do
4:31:28that and then you can say to them that
4:31:30it was a random choice because you can
4:31:33make it look like a random choice.
4:31:35>> 50 cards,
4:31:37>> Ellen Degenerous, Tom Cruz, Beyonce,
4:31:38Justin Bieber, Brad Pitt. Is everyone
4:31:40here familiar to you? science.
4:31:42>> Ryan Gosling, you just got aroused.
4:31:44Okay, great. Jimmy Fallon, Oprah.
4:31:45Anyway, you're going to pick somebody,
4:31:47>> but I can't have you just look through
4:31:48and say, "That's my favorite." Cuz now,
4:31:50what if I looked you up? What if I
4:31:51follow you on Instagram? It's too
4:31:53obvious. I want it to be spontaneous.
4:31:55Kind of random.
4:31:57>> You can see them all. And these are
4:31:59>> here. Yeah. Yeah. Yeah.
4:32:00>> Reach in.
4:32:02>> Randomly grab one. Random. Grab one.
4:32:04Random. Okay. Random. Random. Random.
4:32:06Random. Random.
4:32:07>> Get one. Get one. Got one. Hold on. Hold
4:32:08on. One more. One more. Ian, you wanted
4:32:10the last one. So go hit it. Grab one.
4:32:12Go.
4:32:13>> Are we supposed to see these?
4:32:14>> Yes. Yes. Yes. Cover my eyes so I don't
4:32:15see a thing. Cover my eyes. Show
4:32:17everybody. Show the cameras. Make sure I
4:32:18can't see.
4:32:19>> Is it your dad's name?
4:32:20>> Both of us show. Both of us show.
4:32:21>> Whatever. Show everybody. Whatever.
4:32:23>> I have been saying this GUY'S NAME.
4:32:27>> I WAS GOING TO GET THIS TATTOOED THE
4:32:28OTHER DAY. REMEMBER IN VEGAS?
4:32:31>> Definitely a guy.
4:32:33>> Well manicured.
4:32:34>> Ryan Gosling.
4:32:37>> You know what, Ian? You said you wanted
4:32:39a tattoo. So, how about this gang?
4:32:43What's his name? Say it. Elvis Presley
4:32:45>> King. Everybody say hello to Mr. ELVIS.
4:32:49>> HOLY [ __ ]
4:32:50>> HOW is this possible?
4:32:52>> And that is the essential ingredient
4:32:53that you need to know how he does these
4:32:55elaborate predictions. Pre-show work,
4:32:57which you already understand. But this
4:32:59time, the pre-show magic trick is going
4:33:02to be a card force of some kind.
4:33:05>> Random. Okay. Random. Random.
4:33:06>> Random. Random. Random. Get one. Get
4:33:07one. Boom. You had like a bunch of cards
4:33:10and they all were uh
4:33:11>> 100 companies. Here's the thing. So I
4:33:13tell Joe, pick a random company.
4:33:15>> Yeah, you did.
4:33:16>> And I feel like senior
4:33:17>> that random word that word random random
4:33:19>> random random random.
4:33:21>> It's like the next best thing that you
4:33:22can get to a completely free choice that
4:33:24you just plucked out of your mind. Uh
4:33:26chose choosing anything you want. Random
4:33:28is the next best. But we all know random
4:33:30means I forced you to choose what I
4:33:33wanted you to choose. Probably using
4:33:34slide of hand. under oath in court. You
4:33:37could swear to God this was a random
4:33:38choice.
4:33:39>> Random. Random. Random.
4:33:40>> Yes.
4:33:41>> Is that right? Now watch.
4:33:44>> I'm pulling it out. I got one thing in
4:33:45here. What did you pick? What did you
4:33:47buy out of the whole deli? Say it. What
4:33:48was it?
4:33:49>> Fanta.
4:33:50>> Fanta. Your leadership is what matters
4:33:53at various companies.
4:33:54>> This is why I don't want him to do
4:33:55anything to me because I I'm scared of
4:33:56Ouija boards and stuff like that cuz I
4:33:58don't want to be like
4:33:59>> You picked a random company.
4:34:00>> Random. Random. Random. Yes, I did.
4:34:02>> You just picked a random company. Do you
4:34:04know? Do you know?
4:34:05>> I didn't know, but I know now.
4:34:06>> Do you know the CEO of this company? I
4:34:08do now.
4:34:08>> Okay, think. Count how many letters are
4:34:10in this person's first name?
4:34:11>> Yeah.
4:34:11>> See, that's fast. Too fast. It's too
4:34:13fast. Four letters, wasn't it?
4:34:14>> Yeah.
4:34:15>> Hold on. Hold on. Here we go. I think I
4:34:17got the name. I got the name. He did
4:34:19this too obvious.
4:34:20>> We want a tight shot on Joe when I get
4:34:21this. Close your eyes for me, Joe.
4:34:22>> I know you're going to get I know you're
4:34:24gonna get it. So, I I'm not going to my
4:34:26I'm not going to be surprised.
4:34:27>> Close your eyes. Close your eyes. First
4:34:29name is is uh Mark. Is that correct?
4:34:33>> Yeah. and get Joe on this. Can we get
4:34:35Joe on this? I want to make sure we get
4:34:36Joe. No, close your eyes. Joe, can we
4:34:38get Joe? I'm trying to see him on
4:34:39camera. Joe, do me a favor. Tell us all
4:34:41which company. Open it up. Meta
4:34:43Zuckerberg. Is that right?
4:34:45>> No.
4:34:46>> What do you mean?
4:34:48>> That's not the one I got.
4:34:49>> Which which company is it?
4:34:50>> The one I got.
4:34:52>> Who's a person?
4:34:52>> He's going to
4:34:53>> just like, you know, clearly basically
4:34:55revealing the fact that there was
4:34:57something that was essentially done to
4:34:58him to create the impression that it was
4:35:00random. Uh, but you know, it wasn't it
4:35:03wasn't a free choice on his part.
4:35:04>> I get it. Mark Clouse.
4:35:07>> Mark Clouse.
4:35:08>> Campbell soup.
4:35:12>> Campbell
4:35:14>> soup. I'll go with Campbell Soup.
4:35:16>> Holy. I can't even say the This is not
4:35:20fair.
4:35:21>> We spooky music.
4:35:22>> What if it's a
4:35:24>> I mean, great presentation by O. And
4:35:25that's a that's a you know, great very
4:35:27obvious magic trick which is so
4:35:29interesting. You know, it's interesting
4:35:30that O will in some interviews say,
4:35:32"Look, I don't do magic tricks anymore."
4:35:33And then do stuff like this, which is
4:35:35very obviously a magic trick, but it
4:35:37just hits you so that much harder if
4:35:38you're still in that kind of mentalist
4:35:40headspace. The metad is is just going to
4:35:43make even like these tricks like this
4:35:44that would maybe not hit as hard if it
4:35:46was, you know, a um like a school
4:35:49magician or something doing doing it.
4:35:52That mentalist metad makes these things
4:35:54hit so damn hard.
4:35:55>> It's show the language situation.
4:35:58>> What if you had picked a different You
4:35:59know what? Fill in the blank on that
4:36:00because people always ask me what if
4:36:01what if you had done something
4:36:02different. So tell me what if you had
4:36:03picked Give us a phrase there. What if
4:36:05he had picked Say it.
4:36:08>> I don't know. CEO of like the Lego
4:36:10company or something. I don't know. Some
4:36:12crazy thing.
4:36:12>> What's that? What if he had picked what?
4:36:16>> I I just said Lego.
4:36:17>> Lego.
4:36:17>> I was thinking of a company I don't know
4:36:18the CEO of.
4:36:19>> If you were to pick Lego then Joe, I
4:36:21think we're ready to go. I think I'm
4:36:22ready if you were to pick Lego.
4:36:27>> Okay. Can I just say something for a
4:36:29second? I just need to say something. I
4:36:31know we're on TV, but this is crazy.
4:36:34>> You just
4:36:34>> Oz is about to get the greatest gift
4:36:37that he can get.
4:36:39>> Come up with Lego for the first time
4:36:40ever.
4:36:41>> God's honest. I'm telling you, this is
4:36:44insane. What's happening here? that
4:36:46>> this is not
4:36:47>> Tella from Pen and Tella has this great
4:36:49line that the best kind of misdirection
4:36:52and the best kind of lie that you can uh
4:36:55have someone buy into as a magician is a
4:36:58lie that they tell themselves. And so
4:37:01for O's, you know, he can do all these
4:37:03things, say, "All right, it was a random
4:37:04choice, blah blah blah blah blah." But
4:37:06to have someone just flat out ask
4:37:08someone else who's essentially a target,
4:37:10who's a spectator, and say, "Did you
4:37:12just come up with Lego for the first
4:37:14time ever?" and they say God's honest.
4:37:17That's why this trick for a lot of
4:37:18people who who are sort of thinking
4:37:20about O's, this trick is a real puzzle
4:37:22for them because they know that these
4:37:24guys aren't in on it. They seem genuine
4:37:27and yet this guy just revealed that Lego
4:37:29is something that he basically just he
4:37:31came up with just right then and there.
4:37:33Now, that's not true. He he didn't come
4:37:36up with then and there. And uh we'll
4:37:38we'll see the evidence for that.
4:37:42>> Yeah. Well, when you came up with Lego,
4:37:43I don't know. I was going to say
4:37:44something else. Why did you come up with
4:37:46Legos? Why the [music] hell did you come
4:37:47up with
4:37:47>> Cuz I thought of I was trying to think
4:37:48of a
4:37:48>> You must be Maybe it's He's very
4:37:50predictable.
4:37:50>> I was trying to think of a company a
4:37:52company that didn't uh
4:37:53>> Are you very predictable?
4:37:54>> No, that you wouldn't know the CEO of
4:37:56cuz I didn't know the CEO of Lego.
4:37:58Great.
4:37:58>> Who's the CEO of Lego?
4:37:59>> So, you think about that right there,
4:38:01right? What is the setup? What What's he
4:38:05saying? He's saying that I thought I was
4:38:07trying to think of a company that you
4:38:09wouldn't know the CEO of. That's a bit
4:38:11of a strange thing to do, don't you
4:38:13think? Like in the spur of the moment
4:38:14when Oz is back here saying, you know,
4:38:17some like uh crazy thing. You know what?
4:38:20What if he said something else? Uh, you
4:38:21know, say it.
4:38:23>> I don't I said Lego.
4:38:24>> Lego. What if you had picked what?
4:38:27>> You can tell that in fact what's
4:38:29actually happened is in the pre-show,
4:38:31this has just been something that O has
4:38:33set it up. So, what I imagine would have
4:38:35happened is that he goes to Andrew, has
4:38:37a deck of cards, and he gets him to
4:38:39choose a company, which we didn't watch
4:38:41in this clip, but it was the first part
4:38:42of the clip. And he reveals that to
4:38:44Andrew. And then I think he would say,
4:38:47"All right, let's now choose a company
4:38:49that we think that Joe, the other host,
4:38:52wouldn't know the CEO of." And then, you
4:38:54know, he maybe does a force and he shows
4:38:56him a company like Meta. And at this
4:38:59point, Andrew would say, "Oh, no, no, he
4:39:01he would definitely know the CEO of
4:39:02Meta. Let's do let's do another one. So
4:39:04owes riffles through again and forces
4:39:06him another card. This time it's the
4:39:08Lego and he'd be like, "Oh yeah, yeah,
4:39:09he definitely wouldn't know the CEO of
4:39:11the Lego the Lego company." And so this
4:39:14is all done then uh when it comes to the
4:39:16show and it just looks like it's just uh
4:39:19greasing the wheels. It doesn't look
4:39:21like it's collusion. It doesn't feel
4:39:22like collusion for Andrew. And so when O
4:39:25asks him this question
4:39:26>> company or something, I don't know, some
4:39:27crazy thing.
4:39:28>> What's that? What's the phrase there?
4:39:30What if he had picked say it?
4:39:33>> O says what's the phrase there? So he's
4:39:36bringing him to that idea of the CEO.
4:39:39Oh, okay. Now I get it, right? This is
4:39:41the time for me to say a CEO that he
4:39:44wouldn't even know the the name of
4:39:46because that's actually what O was
4:39:48planting when he was doing the trick.
4:39:49Now, I think this is all a little
4:39:50convoluted and there's kind of a lot
4:39:52going on and I don't think it landed
4:39:53exactly the way O wanted to have it
4:39:56land, but there were parts uh in this
4:39:58trick as he was, you know, saying, "Oh,
4:40:00look, here's this company. Uh, do you
4:40:02know the CEO of this company?" So, he's
4:40:04kind of trying to plant this whole sort
4:40:05of narrative as you go along. But um I I
4:40:09think sort of the main point to drive
4:40:10home is that super weird for Andrew to
4:40:14to respond in that way and think, "Oh
4:40:15man, I'm just I'm really trying hard to
4:40:17think of a company that Joe uh just
4:40:20doesn't know the name of." What a
4:40:22bizarre thing to do in that moment if
4:40:24you truly are free in that moment. Uh
4:40:26why not just come up with some crazy
4:40:28company? And so it's a little bit too
4:40:30specific. And so I think it hasn't quite
4:40:32all the puzzle pieces haven't quite sort
4:40:34of landed together as neatly as they as
4:40:36they could have for O's, but you can
4:40:38definitely see what he was trying to do.
4:40:40And that's sort of the point of these uh
4:40:41tricks, you know, when he's going to do
4:40:43these elaborate predictions, it's all
4:40:45about having these many moving parts
4:40:46that are all kind of going to try to
4:40:48work together and and um in the end. And
4:40:50and when you're doing something live
4:40:52like this where you do have many moving
4:40:54parts and you're not using actors,
4:40:56you're using real people who have been
4:40:57tricked by magic tricks and you're using
4:40:59this metad dual reality thing, then
4:41:01there's a lot there's a lot that sort of
4:41:04won't fit as neatly together as you
4:41:06would have liked. And despite that, this
4:41:08is considered one of Oza's most powerful
4:41:10illusions because of the fact that
4:41:12having these two people that aren't
4:41:14magicians to kind of their own accord
4:41:17basically just reveal uh the the lie or
4:41:20to sell people the lie that you want to
4:41:22sell them on. It's it's just super
4:41:24powerful.
4:41:25>> Come up with Lego for the first time
4:41:26ever.
4:41:27>> God's honest. I'm telling you, this is
4:41:30insane what's happening here.
4:41:38Another elaborate reveal that O will use
4:41:40is when he has the entire audience
4:41:42reveal that they've made the same
4:41:43choice. This is what we spoke about 4
4:41:45hours ago at the start of this video
4:41:47with Jimmy Fallon where the entire
4:41:48audience reveals that they chose the
4:41:50person Will Smith or I think the
4:41:52specific words are they saw Will Smith.
4:41:55>> Write the person that you saw clear as
4:41:58day in your mind as big as you can their
4:42:00first last name. I'm going to cover my
4:42:01eyes. When you are done, hold it close
4:42:03to your body. do not like.
4:42:04>> And that's important. We'll come back to
4:42:05that in just a second. He did it on
4:42:06Ellen DeGeneres where they uh chose the
4:42:08number two.
4:42:09>> Ellen, this is your crowd. Here we go.
4:42:11Everyone close your eyes. Everyone close
4:42:14those eyes. No peeking. Keep your eyes
4:42:16closed. Five, four, three, two, one, go.
4:42:21Anybody hold up any number OF FINGERS.
4:42:22ANY NUMBER OF FINGERS. Look at this
4:42:23crowd, Ellen.
4:42:24>> Oh my god.
4:42:26>> Look at this crowd. OPEN UP. RIP THAT
4:42:28OPEN. Your gift. Look at every single
4:42:29person. Your whole crowd. Rip it open. I
4:42:32am trying. Hold on.
4:42:34>> Show them
4:42:38>> and everybody look at everybody around
4:42:39you.
4:42:40>> Everybody. [cheering]
4:42:42>> And maybe you'll be able to piece
4:42:43together how we just got thoughts into
4:42:45200 people's minds. It says, "Imagine
4:42:46all the people whose lives you've
4:42:48touched." Thank you so much, Ellen. 19
4:42:49amazing seed.
4:42:50>> And he actually has some misdirection
4:42:52and some of the things that he does
4:42:53where he turns his hand around the other
4:42:55way to make it seem like that's the
4:42:57thing that kind of planted this
4:42:58subliminal message to make them choose
4:42:59the number two. Take a tight fist. Okay.
4:43:02When we do a surprise, we have to do a
4:43:04countdown. So, what I'm going to ask you
4:43:05all to do is in a moment, not yet. I'm
4:43:08going to count down. And everybody, not
4:43:09yet. I'm going to count down. Five,
4:43:11four, three, two, one. And then I'm
4:43:14going to say go. And when I say go,
4:43:16you're going to hold up any number of
4:43:17fingers. Now, I don't want anyone
4:43:18peeking. I like
4:43:19>> So, how is O actually doing this? Uh,
4:43:21I've heard some people uh suggest, and I
4:43:23think this is wrong, that there was
4:43:25simply just an instruction to the crowd
4:43:28to uh that everyone should choose Will
4:43:30Smith in order to fool uh Jimmy. I mean,
4:43:33that is one way that it could be done,
4:43:35but I think that that way sacrifices
4:43:37something very valuable, which is
4:43:38genuine amazement on the part of the
4:43:40audience. And so, how can you you have
4:43:43an entire group of people choose the
4:43:45same thing and preserve that legitimate
4:43:47sort of uh amazement the same way that
4:43:49he does with uh normal dual reality
4:43:51metad, you know, starting these magic
4:43:53tricks and then completing them on
4:43:55stage. Well, it's actually that he just
4:43:56simply does these magic tricks uh with
4:43:59the audience. And one of the most
4:44:01efficient ways to do that, I don't
4:44:03think, you know, when you're doing a
4:44:04one-on-one and you can do like a classic
4:44:06card force, which we saw uh repeated
4:44:08many times on the We Might Be Drunk uh
4:44:11podcast, the random random random card
4:44:13force.
4:44:13>> Random. Okay. Random
4:44:15>> random random random one. Get one.
4:44:17>> I think that's going to take a little
4:44:18bit too long to do that with, you know,
4:44:20150 people who are the audience of a
4:44:23show. And so what you can do though is
4:44:26use a uh a different kind of gimmicked
4:44:28notepad where there are different
4:44:30celebrity names on different pages and
4:44:32it's just cut in such a way so that you
4:44:34know when you place your hands on it and
4:44:35you go to sort of flick through you
4:44:37actually can't do it uh and and you're
4:44:39always going to lift to a particular
4:44:41celebrity. And so that's something that
4:44:43I could imagine that O could sort of
4:44:45very quickly or even, you know, train
4:44:47production staff to just sort of very
4:44:48quickly get the whole audience to to
4:44:50come through, put their hand on, you
4:44:52know, lift it up, see what uh celebrity
4:44:55they spotted, and then just remember
4:44:56that and hold it going into the show.
4:44:58And that way he can at least get some
4:45:00amazement from them, provided that
4:45:01they're tricked into thinking um you
4:45:03know that they actually chose something
4:45:05random from that notepad.
4:45:07>> Howard, I did not forget about you. Not
4:45:09for a moment, for an imagine your
4:45:11celebrity. You still have her in mind?
4:45:12>> Yeah.
4:45:13>> Kind of see her face. See her eyes, her
4:45:16ears, her nose. Okay. Right away.
4:45:22>> You saw her face so clearly. Tell us
4:45:24all, all of America. In fact, who are
4:45:27you picturing? You can see her in your
4:45:29mind's eye at this moment. Who is she?
4:45:31>> Oprah Winfrey.
4:45:32>> Say hello to Miss Oprah. Whoa.
4:45:36>> My goodness. You're shocked. You go. Did
4:45:38you see you just walk by and somebody
4:45:40famous just walked by the street one day
4:45:43from today. You look at them. You lock
4:45:45eyes with this person and you go, "Oh my
4:45:48god." Everyone open your eyes.
4:45:52Fight the person that you saw clear as
4:45:55day in your mind.
4:45:57Go down and LOOK AT EACH OTHER. WHAT is
4:46:01going on?
4:46:03>> Wait, how did you do this? Is crazy.
4:46:06It's been one heck of a mountain that
4:46:08we've climbed and I can assure you we
4:46:09are very nearly at the summit. Uh from
4:46:11that vantage point, we will have
4:46:12everything that we need to turn around
4:46:14with a zoomed out perspective of metad
4:46:18specifically by O and whether we think
4:46:20that it is acceptable or not. Whether we
4:46:22are going to smile silently like um
4:46:26Christian Bale's character in the
4:46:27prestige or whether we need to sound the
4:46:29alarm like the Carson Tonight Show did
4:46:31with Yuri Gella. uh that is a choice
4:46:34that uh I want uh as many people to sort
4:46:38of make as we can in order to ensure
4:46:40that it's a solid one and it's a it's a
4:46:41well thoughtout one and I think the
4:46:43final thing that we need to look at to
4:46:44make a call there is you know everything
4:46:46that we've looked at so far has been how
4:46:48metadception has been used by O to
4:46:49intensify the impact of what would
4:46:52otherwise be just a magic trick and so
4:46:54he steps away from labeling himself as a
4:46:56psychic and instead leans into this idea
4:46:58of reading your body language because
4:47:01it's believable And by setting that
4:47:03believable context, when he then
4:47:05performs what is essentially a magic
4:47:06trick, it just seems that much more
4:47:09believable. Seems far less like a puzzle
4:47:11and more like a demonstration of some
4:47:13incredible phenomenon, which is really
4:47:15what every magician would love to create
4:47:18uh for their audience. And yet the the
4:47:20struggle is for magicians to abide by
4:47:22this code that they can't use magic
4:47:23tricks in the same way that Yuri Gella
4:47:25did to demonstrate that they have
4:47:26supernatural powers. But it's
4:47:28shortsighted to think that metad is only
4:47:30having an effect on the intensity of the
4:47:32trick. It has other effects in contexts
4:47:34greater than that because those are
4:47:36those contexts that it plays in. So yes,
4:47:38does it mess with people's belief
4:47:39systems? Yes. Would that offend someone
4:47:41like James Randy when he says something
4:47:43like this?
4:47:44>> I want to be if I can as sure of the
4:47:47world, the real world around me as is
4:47:50possible. The way I think about it is
4:47:51that the more incorrect things you
4:47:53believe about reality, then the greater
4:47:55the chances that you are going to bump
4:47:57into reality in ways that aren't
4:47:59comfortable. I actually think that
4:48:01principle is so strong that it extends
4:48:03beyond just things that you believe and
4:48:05enters into what you say.
4:48:07>> You reassured me three or four times in
4:48:09that room, we're not going to use your
4:48:10real pin number. We're coming up with an
4:48:12imaginary one. I have never felt so
4:48:14violated on air. Someone meeting with
4:48:17you and saying over and over like, "Play
4:48:19with me here,
4:48:22assuring me, play with me here. We're in
4:48:24a room. We're not going to tell anyone.
4:48:25We met 40 minutes earlier. Can you?" And
4:48:27I was willing to concede. Okay, I I'll
4:48:29do this exercise with you. And he
4:48:30reassured me. Then he did that. And then
4:48:33he tried to post it. And I don't like
4:48:36someone that will sell a human um
4:48:39violation for clickbait. He's now po
4:48:42like he's posting like crazy every
4:48:43article about him and he thinks it's
4:48:45great. But that that was really I've
4:48:48I've literally in all my years in
4:48:49television never been violated where
4:48:51someone lied.
4:48:52>> If you make it a habit of lying, I think
4:48:54you're also going to find yourself
4:48:56bumping into reality in ways that aren't
4:48:58comfortable.
4:48:59>> Stay awake, speak properly, be honest,
4:49:02or watch the hell out because things
4:49:04will come your way that you just do not
4:49:07want to see at all. And it might not
4:49:08just be you. It might be everyone you
4:49:10know and everything about your culture
4:49:12that is demolished for for generation
4:49:15after generation. It's like stay awake
4:49:17and be careful. If I was to sell you a
4:49:20product for example and use deception to
4:49:22do it then depending on exactly how I do
4:49:25it there's a chance that I might be
4:49:27breaking the law. And so you can
4:49:29probably see where I'm going with this.
4:49:30O sells a book read your mind. And
4:49:34because he engages in metad uh then
4:49:37there is a chance that that kind of
4:49:39metad is u going beyond just simply
4:49:42intensifying a magic trick and uh going
4:49:45towards intensifying a book sale. And so
4:49:48it's an interesting question to look at
4:49:51exactly how O does that.
4:50:04I mean, going out with you must be such
4:50:05a deadly weapon to have.
4:50:06>> It was a deadly weapon.
4:50:07>> You can't tell us anything about how you
4:50:09do any of this, right?
4:50:10>> Why would he? Don't even have,
4:50:11>> dude. I just wrote a book. It's coming
4:50:12out October 28th.
4:50:13>> Oh, really?
4:50:13>> Read your mind.
4:50:14>> Really?
4:50:15>> We're going to read that book.
4:50:16Literally, the cover quote is from my
4:50:17boy David Gogggin. Says, "Learn to
4:50:19master the most powerful weapon, your
4:50:20mind."
4:50:21>> Okay, so Oz is going to use a two-part
4:50:23strategy here when it comes to talking
4:50:24about his book. The first objective is
4:50:26to hook into the natural curiosity that
4:50:28people are going to have uh about how he
4:50:31does these tricks. Regardless of whether
4:50:32you see them as tricks as in magic
4:50:34tricks or whether you see them as tricks
4:50:35as in these isolated displays of skill
4:50:39and you're still operating under that
4:50:40metad of mentalism. This is a strategy
4:50:43that O uses all the time. He's just got
4:50:44to hook into that natural curiosity.
4:50:47>> Can anybody do what you're doing? This
4:50:49is perfect pitch for my book. So I
4:50:51literally believe anybody can do what
4:50:52I'm doing.
4:50:52>> I don't think she's going to get it cuz
4:50:53I haven't helped her out yet. I've been
4:50:54given the gift, right? You got to buy
4:50:56the book.
4:50:56>> Yeah. Yeah.
4:50:57>> To explain how you do it. What is your
4:50:59answer to that?
4:50:59>> Well, you know what? The secrets are
4:51:00finally being revealed. October 28th, I
4:51:02have a book coming out called Read Your
4:51:04Mind.
4:51:04>> Now, this creates the impression that
4:51:06the book is going to naturally satisfy
4:51:07this curiosity. Like he said in one of
4:51:09the examples, he's going to reveal the
4:51:10secrets behind these tricks. And that's
4:51:13where step two is really important
4:51:14because the book isn't uh going to teach
4:51:17you about uh fake Google searches or
4:51:20fake thumbs or impression pads or
4:51:22pre-show work or anything like that. And
4:51:24so what O says next is really important
4:51:26to pick apart very carefully.
4:51:28>> Could you train somebody to do what you
4:51:29do? So my book is not revealing
4:51:31mentalism tricks.
4:51:32>> It's important to understand this word
4:51:34trick. What is a trick? Well, it's an
4:51:38act of deception. Whether it's an
4:51:39innocent one, like a magic trick, or a
4:51:41malicious one, like trying to trick your
4:51:43old scenile grandmother out of her last
4:51:45$10,000.
4:51:47But it's also a kick flip. It's also
4:51:51telling your dog to sit.
4:51:53It's this isolated display of skill that
4:51:56you've had to practice and practice over
4:51:58time. So, what then is a mentalism
4:52:01trick? Well, it's going to mean
4:52:02different things to different people. If
4:52:04you're on guard against metad, then it's
4:52:06going to be the kind of disclosure that
4:52:08you're looking for that someone is using
4:52:10deception in a trick that they're
4:52:12performing. But if you're affected by
4:52:14metadception, then it's simply just
4:52:16going to be a foreshadowing that you're
4:52:18about to display some kind of skill that
4:52:20you've had to practice and hone over the
4:52:22years. And so you can see why it's a
4:52:25pretty handy word for O to use. And he
4:52:27doesn't mind when people say that he's
4:52:29performing tricks. But what about when
4:52:31someone asks him something less
4:52:33ambiguous? What about if he's performing
4:52:35an illusion? I always felt like there
4:52:38was an elaborate thing going on that I
4:52:42wasn't aware of which allowed the
4:52:44mentalist on stage to access the
4:52:45information that he or she wanted. I
4:52:48mean, am I right? Is it is it basically
4:52:51an illusion albeit a very
4:52:52wellressearched and wellexecuted
4:52:55illusion?
4:52:56>> Um, I don't know. When I use the term
4:52:57illusion, it's hard for me to understand
4:52:59because that has different meanings to
4:53:00different people. To answer very
4:53:02succinctly, it's not psychic powers.
4:53:05It's not supernatural. So there's no if
4:53:08you're saying is this some sort of thing
4:53:09that you're getting out of the ether?
4:53:11No. But is it based in some essence on
4:53:13science where there's observable ways
4:53:16that I could explain to you of how I'm
4:53:18getting the information from you that
4:53:20you can't understand? 110%. So and I'm
4:53:23going to tell you why that is a very
4:53:24limited subset of people who want to
4:53:26read that. If you really think about it,
4:53:29sitting here guessing his roulette
4:53:30number, what does that do for you in
4:53:31life? Not much, right? That's not like a
4:53:34big deal. I don't know. You could you
4:53:35could go around semi and just like [ __ ]
4:53:37with somebody pretty bad. Be like, I
4:53:38know everything. Just keep popping in
4:53:39and out and letting them know that you
4:53:40know about them and then you could kind
4:53:41of scare them.
4:53:41>> That's true. But beyond scaring people
4:53:43or entertaining people, that's kind of
4:53:44the limit. But the skills surrounding
4:53:46what I do of how to read people in
4:53:48business, how do you approach your boss
4:53:50to get a raise, right? How do you know
4:53:51if somebody's lying to you? Those are
4:53:53very very good tactics. Memory. So, a
4:53:55lot of what I do has a lot to do with
4:53:56memory. You don't realize it, but most
4:53:59of the stuff that people give you, they
4:54:00don't even realize they give it to you.
4:54:02They give that information and you hold
4:54:03on to it's like a coupon that never
4:54:05expires. Here.
4:54:07>> Okay. So much in there to unpack. Oz is
4:54:10being so careful with his words. Uh
4:54:13let's start at the beginning. So right
4:54:14away in step two, O appears to be
4:54:16clambering out of this hole that he's
4:54:18dug for himself in step one. He's hooked
4:54:21into all this natural curiosity. He's
4:54:23built all this attention for his book,
4:54:24but he's done so at the cost of creating
4:54:26the impression that the book is going to
4:54:28be revealing the secrets behind how he
4:54:30actually does his tricks. Now O
4:54:32obviously doesn't want to do that and so
4:54:33he's got to be explicit and upfront
4:54:35about the fact that that's not what the
4:54:37book is about.
4:54:38>> Can anybody do what you're doing? This
4:54:40is perfect pitch for my book. So I
4:54:42literally believe anybody can do what
4:54:43I'm doing. My book's coming out in
4:54:44October. But I'm not going to teach you
4:54:45to be a mentalist.
4:54:46>> But the secrets are finally being
4:54:47revealed October 28th. I have a book
4:54:49coming out called Read Your Mind where
4:54:51I'm going to teach you exactly how to
4:54:52use these skills not to guess. Look at
4:54:54this. Not to guess tea sizzle.
4:54:56>> If he doesn't do that, he runs the risk
4:54:57of making a misrepresentation. Yet his
4:55:00goal is actually a little bit more
4:55:01sophisticated than that because he also
4:55:03has to maintain the metad of mentalism,
4:55:06which means that he's got to give people
4:55:08some sort of convincing reason as to why
4:55:10his book isn't going to teach them uh
4:55:13this learnable skill that he's spent the
4:55:15last 30 years developing. And his reason
4:55:18for that is quite clever, and that's
4:55:20that it's just not going to be useful to
4:55:22you.
4:55:23>> How would guessing a celebrity out of a
4:55:26stranger's mind help you? Well, frankly,
4:55:27it really can't because it's not useful
4:55:29in your day-to-day life. What would
4:55:31guessing a word out of somebody's head
4:55:32that somebody told you 10 years ago do
4:55:33for you? Virtually nothing.
4:55:35>> Really,
4:55:35>> if I taught you how to guess a word out
4:55:37of a book or guess a number or guess the
4:55:39name of a celebrity, that's actually not
4:55:41useful in your day-to-day life.
4:55:42>> There's some pretty interesting
4:55:43misdirection going on with Oza's use of
4:55:45the word guess.
4:55:47>> Guessing. Guessing a word. Guess a word
4:55:49or guess a number. Guess the name of a
4:55:50celebrity.
4:55:50>> Now, we know that if you're going to use
4:55:52an impression pad or a fake Google
4:55:53search, then in fact, there is no
4:55:55guesswork involved. you actually have
4:55:57certainty about whatever the information
4:55:58is. And yet, if you're truly going to
4:56:00guess, then you can't know for sure. And
4:56:03if you do know for sure, well, then
4:56:05you're really just pretending to guess.
4:56:07And so O uses the word guess because it
4:56:10reinforces the metad of mentalism.
4:56:12Creates the impression that he is using
4:56:14cold reading and studying people's body
4:56:15language and cues in order to make a
4:56:17really really good guess as to what
4:56:20playing card they're thinking of. And so
4:56:22in the context of his book disclaimer,
4:56:23when O says that it's not useful to you
4:56:25to learn how to guess the name of your
4:56:28friend's first crush, for example, well
4:56:30then when he talks about asking your
4:56:32boss for a raise or knowing when your
4:56:33spouse is lying to you, how to know if
4:56:35people are lying to you? When's the
4:56:36right moment to approach somebody to
4:56:38influence them? Your boss, your spouse,
4:56:40your best friend, right? How do you know
4:56:42if they're interested in you? How do you
4:56:43know if in different situations why
4:56:45they're mad at you? Or when's the best
4:56:47time to approach your boss to get a
4:56:48raise? What we infer is that he's going
4:56:51to teach us how to make better guesses
4:56:54as to when to ask our boss for a raise
4:56:56or how to better guess when our spouse
4:56:59is lying to us. And that suggests that
4:57:02it's going to be essentially the same
4:57:03set of cognitive skills that he uses to
4:57:06guess what playing card someone is
4:57:08thinking of. And yet that's a problem
4:57:10for O because he's not guessing what
4:57:12playing card someone is thinking of.
4:57:15He's just reading it off the impression
4:57:16pad or off the Google search or he's
4:57:19just used slight of hand. And so he
4:57:21actually has to escape this context.
4:57:22This context of guessing is a problem
4:57:25for him. It reinforces the metad. But it
4:57:28can't be what you think he's doing when
4:57:30he's teaching you about asking for
4:57:32raises and discerning whether your
4:57:33spouse is lying. And so he uses this
4:57:36special language. He says, "I'm going to
4:57:38teach you skills surrounding what I do.
4:57:42I want to give you the core skills
4:57:44surrounding what I do, but there's a lot
4:57:46of skills surrounding what I do, but
4:57:48truly the skills surrounding what I do.
4:57:51I want to teach you the skills
4:57:52surrounding how to read people more
4:57:54effectively. Like you said, the
4:57:55packaging is what's important.
4:57:57>> The skills surrounding I'm not trying to
4:58:00sell you anything about being a mind
4:58:02reader or a mentalist. This is a
4:58:03separate pursuit. the skills surrounding
4:58:06everything I do, those skills,
4:58:09>> I started to really see that I think
4:58:11some of the things that I do in my life
4:58:13that are surrounding the mentalism are
4:58:17the actual hidden tricks and tips for
4:58:19success.
4:58:20>> In other words, he's trying to break
4:58:22free of the performance to talk to you
4:58:24about real world skills that he has. And
4:58:26he does. He understands how to read
4:58:28people in the context of business.
4:58:30Anyone who's involved in negotiation and
4:58:32setting their own price is going to be
4:58:33able to tell you something about that.
4:58:35And yeah, he's been married for a long
4:58:37time and he has five kids and so he may
4:58:39have genuine insights into knowing when
4:58:41your spouse is being dishonest, but it's
4:58:43not the same kind of guessing that he
4:58:45uses for the playing card. And so O has
4:58:48this dilemma because metad
4:58:54such thing as just here is the the
4:58:57guesswork of mentalism. It's designed to
4:59:00go beyond that, which means that it
4:59:02bleeds into everything that he does. And
4:59:05so what he's trying to do is have his
4:59:09cake and eat it, too. And metad isn't
4:59:13going to let him do it.
4:59:15>> I have a book coming out later this year
4:59:17where you know what? You've seen what I
4:59:18do.
4:59:19>> Yeah.
4:59:19>> And what if you could take these skills
4:59:21and apply them to your everyday life?
4:59:22Um, you're not going to guess names or
4:59:23numbers, but what if you could know the
4:59:25right time to approach your boss for a
4:59:26raise, know what your husband or wife is
4:59:28really thinking? That's where we're
4:59:29going with this. Taking the tools of
4:59:30mentalism and applying them to your
4:59:32life.
4:59:32>> Unbelievable.
4:59:33>> Where I'm going to teach you exactly how
4:59:34to use these skills not to guess. Look
4:59:37at this. Not to guess t- sizzle, right?
4:59:39>> But how do you read the people around
4:59:40you in your life better at work, at
4:59:42home, and use mentalist skills in the
4:59:44real world?
4:59:45>> Really, I don't guessing somebody's
4:59:46first crush, their ATM pin code, minus
4:59:48if you're nefarious and a criminal.
4:59:50Those are skills that are very good for
4:59:52a party or an entertainer. But a lot of
4:59:54the same core skills that I do, which is
4:59:56how to read people more effectively,
4:59:58right? How do you know if someone's
4:59:59lying to you?
5:00:01And so the core skills of a mentalist is
5:00:03reading others effectively and
5:00:05influencing them. And that's what I'm
5:00:06teaching.
5:00:07>> So in these examples, O seems to be more
5:00:09explicitly conflating the kind of
5:00:11non-existent pretend guesswork involved
5:00:14in revealing someone's playing card with
5:00:16the kind of real world guesswork that is
5:00:18discerning the best time to ask your
5:00:20boss for a raise. He explicitly says
5:00:22that he's going to teach you the core
5:00:24skills of mentalism and how to apply
5:00:26them in real world context. So, it's
5:00:28completely reasonable for someone to buy
5:00:30the book knowing full well that they're
5:00:32not going to learn how to guess
5:00:33someone's playing card, but still
5:00:34expecting that they are still going to
5:00:36learn from the same core bundle of
5:00:38skills that do go towards guessing
5:00:40someone's playing card.
5:00:41>> And I tell you exactly when do you
5:00:42approach that person to have the highest
5:00:44chance of success? Is that mentalism?
5:00:46No, it's core skills in life. But what
5:00:49do I do for a living? I read people all
5:00:51the time and how they behave and try to
5:00:53influence them. So, let me give you some
5:00:55of those tactics and skills to use in
5:00:56your life.
5:00:56>> You'll notice that O isn't using that
5:00:58special word surrounding like we've seen
5:01:00him do so often more recently, referring
5:01:02to those skills surrounding the
5:01:04mentalism performance being the ones
5:01:06that he's actually going to teach you in
5:01:08his book. But I'm not so sure that even
5:01:11if O did religiously use the word
5:01:13surrounding that that's some kind of
5:01:14magical get out of jail free card when
5:01:16it comes to accusations of making
5:01:18misrepresentations about the book. So
5:01:20while obviously none of this is legal
5:01:22advice, consumer law both here in
5:01:23Australia and the United States works
5:01:25very similarly when it comes to making
5:01:27misrepresentations about products or
5:01:29services. The test that the courts will
5:01:31apply is what we call an objective one,
5:01:33which just means that the subjective
5:01:34intent of the seller to mislead or
5:01:36deceive is irrelevant. And the
5:01:38subjective effect on the buyer, whether
5:01:39they actually were misled or deceived,
5:01:41is irrelevant. The only thing we care
5:01:43about is the likely effect on an
5:01:45ordinary, reasonable person who is a
5:01:48member of the target audience or group
5:01:50that the product or service is geared
5:01:51towards. Okay? Okay, so I'm certainly no
5:01:53expert on US consumer law, so I thought
5:01:54I'd find you an authority that carries
5:01:56just a little bit more weight uh than I
5:01:58do, and that's going to be the Federal
5:01:59Trade Commission's policy statement on
5:02:01deception. So, this is an old letter. It
5:02:02was written back in 1983, but that
5:02:05actually goes to the strength of the
5:02:06information here because it hasn't been
5:02:07altered or edited or withdrawn or
5:02:09declared obsolete. And so, this is still
5:02:11really good law. And it's written in
5:02:13simple English uh because the whole
5:02:14point is to provide guidance to the
5:02:16public as to how the FTC is going to
5:02:17understand and define things like
5:02:19deceptive acts or practices and apply
5:02:21various sections of the of the FTC act.
5:02:24And so the meat and potatoes is down
5:02:26here in the summary where the FTC is
5:02:27going to list these three elements that
5:02:29undergur all deception cases. One, two,
5:02:33and three. And so the first is the
5:02:34easiest in our case because there must
5:02:36be a representation and mission or
5:02:38practice that is likely to mislead the
5:02:40consumer. And so it says likely to
5:02:43mislead because this is an objective
5:02:44test. It's not necessary to show that
5:02:46anyone actually was misled, just that
5:02:48there was some kind of representation or
5:02:50practice that is likely to mislead the
5:02:52consumer. And so because we know that
5:02:55thousands if if not millions of people
5:02:57have been misled into thinking that Oz
5:02:59is guessing words or phrases when in
5:03:01fact he actually knows them beforehand
5:03:02using you know fake Google searches or
5:03:04slide of hand or uh you know impression
5:03:06pads then we actually know that there
5:03:08must already be some kind of
5:03:10representation and mission or practice
5:03:11that is causing them to be misled
5:03:13because we have those people who already
5:03:14are misled. So the first element is
5:03:16really easy for us here. Second is where
5:03:18more of the debate is going to lie and
5:03:19that's where the FTC is going to examine
5:03:21the practice from the perspective of a
5:03:23consumer acting reasonably in the
5:03:25circumstances. And so the question here
5:03:27really you know people might push back
5:03:28and say hey look O was upfront about the
5:03:31fact that what he does is a mentalism
5:03:32trick. Uh and uh you know he's upfront
5:03:36about the fact that mentalism is a
5:03:37subset of magic and everyone knows that
5:03:39magic is ultimately about deception. You
5:03:41know you're being fooled in some way.
5:03:43you're being misdirected. And no always
5:03:45talks about misdirecting people and that
5:03:47it's his job to misdirect people. Uh
5:03:49they might also say that, you know, he's
5:03:50upfront about the fact that he is uh not
5:03:53a psychic and he doesn't have any
5:03:55supernatural abilities and that being
5:03:57able to study someone's body language or
5:03:59look at how their eyes and eyebrows move
5:04:01in order to figure out the name of their
5:04:02first crush is ridiculous. That's
5:04:04obviously a supernatural ability. And so
5:04:06people, it would be unreasonable for
5:04:08someone to actually uh think that uh
5:04:11that was the case. And yet the FTC
5:04:12expands upon that a little bit here down
5:04:14in chapter 3 where it's going to talk
5:04:16about this um second element and it says
5:04:18something really interesting and that is
5:04:20that um when a seller's representation
5:04:22conveys more than one meaning to
5:04:24reasonable consumers, one of which is
5:04:26false, the seller is liable for the
5:04:28misleading interpretation. And so this
5:04:30is here where you might, you know, think
5:04:32about what we just said earlier with the
5:04:33word trick. A trick can be an act of
5:04:35deception, but a trick can also be a
5:04:37display of some kind of practice skill.
5:04:39Um, you know, all of the talk about uh
5:04:42misdirecting people and all the rest of
5:04:44it, that kind of sounds like to people
5:04:45that you're really just getting in
5:04:47people's heads and kind of pushing their
5:04:48thoughts in all kinds of different ways
5:04:50and it's still not incompatible with
5:04:52this idea that you don't know the word
5:04:54yet and that you are ultimately making
5:04:55this really really educated guess. Uh
5:04:58similar thing with like supernatural,
5:05:00you know, uh I think it's reasonable for
5:05:02people to draw this kind of distinction
5:05:04between someone who's disclosing that
5:05:06they don't have supernatural abilities
5:05:08and so therefore really what they have
5:05:09are these superhuman abilities, this
5:05:11really sort of highly trained skill that
5:05:13they've had to spend decades to develop.
5:05:16Um so I certainly think most of the
5:05:17debate is going to come down to this uh
5:05:19second element for certain. Uh third is
5:05:22uh I think more straightforward and that
5:05:24is that the representation of mission or
5:05:25practice must be a material one which
5:05:27means that the act or practice is likely
5:05:29to affect the consumer's conduct or
5:05:31decision with regard to a product or
5:05:33service. And so here, you know, are
5:05:36there people who are buying the book
5:05:39because they are convinced that O can
5:05:42guess these words and that he's actually
5:05:44figuring out these words and that they
5:05:46wouldn't buy the book if they knew that
5:05:47ultimately he was just using slide of
5:05:49hand or gimmicks or fake Google
5:05:50searches. Uh I think that uh absolutely
5:05:53there would be and certainly even you
5:05:55know aside from just the book say
5:05:56booking a show you know you're going to
5:05:57book a corporate show you're going to
5:05:58have this guy come in and maybe what you
5:06:00want is to display to all of your
5:06:02employees this guy who has this
5:06:04incredible ability to guess words or
5:06:06phrases and therefore figure them out.
5:06:08Um if it turns out that this guy is
5:06:10actually just using slight of hand and
5:06:11and kind of essential magic tricks then
5:06:14uh maybe you wouldn't have booked that
5:06:15service if that is uh what you knew that
5:06:17he was actually doing. So there we go.
5:06:19That is the FTC policy statement on
5:06:21deception. Let's get back to the video
5:06:23where I'm going to talk about this a
5:06:24little bit more. So, keeping this
5:06:26objective test in mind, I think it's
5:06:27pretty unlikely that you would expect a
5:06:30person that you've used metad on to
5:06:31convince them that you have these
5:06:33heightened powers of observation or this
5:06:35extremely developed cold reading ability
5:06:37in body language analytic or
5:06:39psychological powers of persuasion to
5:06:41plant thoughts and words in people's
5:06:43heads without them realizing. and then
5:06:45expect that person to think that those
5:06:47skills are just restricted to the stage
5:06:49that you're performing on or the podcast
5:06:51that they're listening to. That doesn't
5:06:53make any sense. All of those skills are
5:06:55so obviously applicable to a wide
5:06:57variety of contexts. That's actually
5:06:59what makes it so entertaining for
5:07:01ordinary, reasonable people to watch.
5:07:03And you count on that because that's
5:07:05what helps you get more attention.
5:07:07That's what helps you sell more
5:07:09corporate gigs. That's what helps you
5:07:11sell more books. That's why you're using
5:07:14metad.
5:07:16>> And people ask a question all the time
5:07:19which is were you born with this? And
5:07:22the answer is no. Of course not.
5:07:24Absolutely not. I do not possess any
5:07:26supernatural powers. I am not a psychic.
5:07:30This is a learnable skill that I feel
5:07:33anyone could do. But I've applied for
5:07:35about roughly three decades at reverse
5:07:39engineering the human mind. If I know
5:07:42how you think, I know what you think.
5:07:45>> So, I've heard more than a few people
5:07:46say that it's entertainment. O is an
5:07:48entertainer. He's upfront about the fact
5:07:50that he doesn't read minds or have any
5:07:52psychic or supernatural abilities. And
5:07:54so, we should leave him alone. And
5:07:56there's a misdirection there because
5:07:58yes, O is upfront about the fact that he
5:08:00doesn't read minds, but that's a
5:08:01misdirection designed to throw you
5:08:03deeper into the metadception that he
5:08:05reads people.
5:08:06>> Guess what? I can't read minds. What I
5:08:09can do is read people.
5:08:12>> Oh, yeah. No, I'm not psychic, man. I
5:08:15know how to read people. But what do I
5:08:17do for a living? I read people all the
5:08:19time. And when he demonstrates this
5:08:21ability to read people, he appears to do
5:08:23so in ways that seem superhuman. So, it
5:08:26looks like he's just swapped out
5:08:27supernatural abilities and replaced them
5:08:28with superhuman ones. Yet, I'm not too
5:08:30sure there's much of a difference there,
5:08:32besides the fact that these days it's
5:08:33easier to convince people of the latter
5:08:35rather than the former. But let's just
5:08:37say that O was calling himself a psychic
5:08:39and that everything he was doing was
5:08:41designed to convince you that he had
5:08:43supernatural abilities. Well, isn't that
5:08:46still just entertainment? Isn't he still
5:08:48just an entertainer? Isn't entertainment
5:08:50this world where you can say and do
5:08:51whatever you want as long as you're able
5:08:53to keep getting attention? Well,
5:08:54actually, yes. The key though is that
5:08:57you have to keep getting attention. And
5:08:59that attention is going to depend on
5:09:00what people believe about what it is
5:09:02that you're doing. Yuri Gella was
5:09:04entertaining because people genuinely
5:09:07believed that he had supernatural
5:09:08abilities to bend metal spoons with his
5:09:10mind. When they recognized that he was
5:09:12deceiving them, then he stopped being
5:09:14entertaining. Entertainment has
5:09:16standards, and your ability to meet
5:09:19those standards in creative ways is
5:09:20actually what makes you entertaining.
5:09:23And those standards change and morph
5:09:25throughout time.
5:09:39ARE YOU NOT ENTERTAINED?
5:09:42ARE YOU NOT ENTERTAINED?
5:09:46>> Is this not why you were here?
5:09:53So, while I hope that the idea of men
5:09:56murdering each other for no reason is
5:09:57something that we no longer find
5:09:59entertaining, there's no question that
5:10:01our desire to see simulated warfare
5:10:03lives on.
5:10:08>> Tier has been picked off by probably the
5:10:12tackle of the year. And in the context
5:10:13of sport, a wellexecuted act of
5:10:16deception is actually one of the most
5:10:18entertaining things there is.
5:10:20>> Out to James with a new shot clock. Oh,
5:10:22great no to puts it home.
5:10:26>> How about that? Everybody, even myself
5:10:29included, thought that ball was going to
5:10:30Kyle Cor right there for an easy three.
5:10:33>> This is something that's absolutely
5:10:34crazy. It's from a middle school
5:10:36football game in Texas. You see, he just
5:10:38kind of walks up the line nonchalantly
5:10:40and then takes off and heads for the end
5:10:42zone. It's a touchdown that ended up
5:10:44tying the game at six and the game ended
5:10:46in the tie. I guess he told the center
5:10:48he said the officials want us to walk
5:10:50the ball up five yards. So, he just
5:10:51casually hands the ball back and then
5:10:53strolls up the line. Um, nobody really
5:10:55caught on until he took off for the end
5:10:57zone. I guess you can't see the coach in
5:10:58the play, but he's on the sidelines and
5:11:00really acting it out as well. So, a
5:11:02great play. Uh, I guess if football
5:11:04doesn't work out for him, the
5:11:05quarterback's Jason Garza, he might have
5:11:06a career in acting.
5:11:08>> But this video was never about the kind
5:11:09of deception that society has already
5:11:11accepted and permits and encourages to
5:11:13operate within these clearly defined
5:11:15boundaries. This video was always about
5:11:17the kind of deception that breaks free
5:11:19of those boundaries. The kind of
5:11:21deception that requires a handful of
5:11:23people to truly understand and recognize
5:11:25it for what it is, see it operating in
5:11:28its context, and contemplate what the
5:11:29ramifications of that are.
5:11:32I've done my best to make you one of
5:11:34those people. And so now I pass the buck
5:11:37to you.

About this transcript

This page contains the full transcript of metadeception: the truth about oz pearlman by Baskin, generated from the public captions YouTube serves with the video. The transcript has 68,231 words across 10,143 segments, with the original timestamps preserved so you can click any line to jump to that moment in the embedded player.

What you can do with it

Use the transcript to take notes, quote the speaker, build a study guide, generate a summary with ChatGPT or Claude via the YouTube Summary tool, or export it as a timed subtitle file with YouTube to SRT. You can also re-open it in the transcriber to translate the transcript into 100+ languages.

Free YouTube transcript tool

YouTube2Text is a free YouTube transcript generator — no signup, no daily limit. Paste any YouTube link and get the full transcript instantly, with timestamps, click-to-jump, translation to 100+ languages, AI prompts for ChatGPT, Claude, and Gemini, and exports to TXT, SRT, VTT, or Markdown.