What’s about to happen with Steven Spielberg’s Disclosure Day isn’t just another studio rollout with a cryptic Times Square billboard and a two-minute teaser—though we did get exactly that, complete with the line “All will be disclosed,” and a June 12, 2026 date tag splashed across NYC and LA ahead of Christmas week. It’s the once‑every‑generation moment when a master filmmaker steeped in UFO lore, biblical symbolism, and national mythology decides to shove the cultural conversation forward—and does it at a time when governments, newsrooms, and intelligence bureaucracies are finally admitting that “there is footage and records of objects in the skies that we don’t know exactly what they are.” 123

Spielberg’s teaser landed December 16, 2025: a brisk montage of unsettling phenomena, a TV meteorologist (Emily Blunt) breaking down on live air as her voice devolves into clicks, crop circles forming in real time, and a whistleblower (Josh O’Connor) promising “full disclosure… to the whole world… all at once.” Universal confirmed the title, Disclosure Day, along with the ensemble (Blunt, O’Connor, Colin Firth, Colman Domingo, Eve Hewson, Wyatt Russell) and the logline: “If you found out we weren’t alone… would that frighten you? This summer, the truth belongs to seven billion people.” David Koepp—Spielberg’s long-time screenwriter on Jurassic Park, The Lost World, War of the Worlds, and Kingdom of the Crystal Skull—returns to script from the director’s original story, with a release set for June 12, 2026. John Williams is scoring. A billboard campaign seeded curiosity days earlier, then the first trailer attached to Avatar: Fire and Ash screenings sealed the hype. 4567

The trailer’s grammar is familiar to anyone who’s lived inside Spielberg’s extraterrestrial trilogy—Close Encounters, E.T., and War of the Worlds—but this time the tone leans somber, even unnerving. You see none of the aliens; you feel their pressure on the edges of ordinary life. A nun stares at a mind-melding rig, animals behave strangely, and a murmuring chorus asks an ancient question: “Why would God make such a vast universe, yet save it only for us?” It is science‑fiction by way of catechism: mystery first, optics later. The teaser dropped in front of a public already primed by years of official disclosures and denials, a news cycle that swings between ODNI reports and Navy cockpit videos, and a new nomenclature (UAP) designed to strip away decades of “little green men” baggage. Spielberg, who has long said he doesn’t believe we’re alone, didn’t invent this moment; he’s channeling it. 68

The studio press materials are sparse by design, but they do confirm the core: a global reveal of proof, a media-driven human response, and a cast positioned at the edge where faith, science, and politics collide. People magazine’s write-up underscores that this is Spielberg’s first feature since The Fabelmans and his return to UFO storytelling; ABC’s GMA packaging shows Blunt possessed mid-broadcast; Deadline’s industry note pins the date and positions the film as the summer’s existential event. That triangulation—trade outlet confirmation, mainstream broadcast amplification, and fandom analysis threads—is not just PR; it’s an index of appetite. Audiences want a serious, sober take on disclosure that neither laughs it off nor turns it into a carnival. Spielberg’s reputation lets him ask the question without collapsing beneath it. 9105

If you care about the politics under the hood, the timing is obvious. Since late 2017, when The New York Times broke the Pentagon videos and the existence of AATIP, we’ve had the UAP Task Force (approved August 2020), the ODNI Preliminary Assessment (June 25, 2021), and Congress’s 2022 NDAA creating AARO—the All‑Domain Anomaly Resolution Office—to centralize reporting, analysis, and public transparency. AARO’s first historical volume landed in February 2024, mapping U.S. government involvement since 1945 from Project SIGN to BLUE BOOK to CIA panels, and its public posture has been to release as much raw evidence as possible without harming partner equities. That’s not Hollywood; that’s bureaucracy. But bureaucracy has set the table. A movie like Disclosure Day rides the wave of official acronyms that admit the problem, even as it insists that most cases fit prosaic profiles (balloons, drones, birds). The serious work of weeding out errors and hoaxes did not kill the subject; it made “we don’t know” socially respectable again. 11121314

The CIA files are another background hum. Far from confirming crash retrievals, the agency’s publicly accessible “UFOs: Fact or Fiction?” collection compiles cables, memos, and summary press clippings from the 1940s through the early 1990s—an archive of seriousness, not sensationalism. The Black Vault digitizations and Smithsonian coverage in 2021 made those documents easier to browse and fueled a sense that, while much is mundane, some fraction remains unexplained due to data gaps. Add the National Archives’ UAP Records Collection created in 2024 NDAA, and government-kept paper trails are no longer a subculture hobby; they are an official research topic. When a storyteller with Spielberg’s credibility references “disclosure,” he isn’t inventing a bureaucracy. He is meeting it. 151617

Then there’s the other engine of disclosure: the perennially curious political operative, John Podesta. From his 2011 foreword to Leslie Kean’s book to tweeting in 2015 that his biggest White House failure was not securing UFO disclosure, Podesta has been the Beltway’s most persistent, mainstream voice for transparency. The Wikileaks dump of his emails in 2016 crystallized that curiosity with exchanges involving Apollo 14 astronaut Edgar Mitchell (who referenced “nonviolent ETI from the contiguous universe,” however eccentric that reads) and Tom DeLonge’s outreach framing UAP as a national security priority; Mother Jones later documented how Podesta nudged campaign messaging toward tongue‑in‑cheek “the truth is out there” lines. The Obama Presidential Library has FOIA material showing internal attention to Podesta’s public remarks about UAPs. Whatever you think of the personalities and their metaphysics, it’s undeniable that “disclosure” stopped being fringe and stepped into official statements years ago. The Clintons flirted with promises; Democrats like Podesta kept the word alive; and the media stopped rolling its eyes. That’s the ecology in which a Spielberg film lands. 18192021

On television, Barack Obama’s May 2021 appearance with James Corden registered as a cultural permission slip: “There is footage and records… we don’t know exactly what they are,” he said, adding that we can’t explain their trajectories and that serious people are investigating. Again, no crash retrievals, no bodies; just dignified uncertainty framed as worth study. That single clip circulated across NBC, CNN, and the Independent with the same headline and sentence, making it resistant to partisan spin. It’s impossible to overstate how statements like this alter the audience for a film like Disclosure Day. You no longer need to sell the premise that a government might know things and might release them. You need to tell the human story of what it feels like when that knowledge crosses the threshold of proof. 32223

This is why I argued for months that the Disclosure Day campaign would not be merely cinematic. The teaser’s choices—biblical language, moral stakes, a chorus of “people have a right to know the truth… it belongs to seven billion people”—give you a tell. Spielberg is staging the post-disclosure psychology: trust breakdowns, religious reinterpretations, the questionable allure of a technocratic “we’ll manage it for you” state, and the tempting promise that a new cosmic threat will unify otherwise warring factions. That promise, by the way, is precisely the sort of political device elites would wield in a crisis: when ordinary collectivist appeals fail, fear works. The left in America—from John Podesta’s transparency drumbeat to West Coast cultural power—understands the unifying leverage of a “we are not alone” narrative. Positioning Democrats as the “party of disclosure,” through Hollywood’s megaphone, is as plausible as it is cynical, precisely because the public appetite for answers is now bipartisan. Skeptics and believers alike want competence. Whether Disclosure Day’s marketing was hatched over party cocktails is less important than the fact that the messaging aligns: all will be disclosed, the government has a role, and trust us—this time. 6

A Trump administration brings a different set of instincts to the table. He has publicly styled himself a UFO skeptic—“It’s never been my thing,” he told Joe Rogan in October 2024—but his Pentagon rode the arc of UAP openness: UAPTF, ODNI assessments, and the founding of AARO came out of a bipartisan legislative environment and continued under his second term’s defense establishment. ABC’s June 2025 segment with AARO’s director described hundreds of cases reviewed, most resolved, “several dozen” still anomalous, and an explicit effort to release more raw videos after automated redaction. You don’t need a sci-fi president for disclosure to advance; you need a bureaucracy with political air cover and a media willing to treat UAP like air safety and national security. That is present. If Trump wants to preempt a Hollywood-driven “party of disclosure” narrative, he can do it by ordering wider releases, allowing fuller congressional briefings, and framing disclosure as competence, not mysticism. The danger is letting the reveal be defined by fandom and fear; the opportunity is to take ownership as the administration that finished the job begun by ODNI and NDAA. 14

What happens after people realize what disclosure means? I’ve been writing The Politics of Heaven to answer that: to guide the post-disclosure world in a way that protects faith, families, and local governance while absorbing the shock of metaphysical and material claims. Whether you believe in ultra-terrestrials, interdimensional entities, or straightforward extraterrestrials, the questions that follow are the same: What is consciousness, and how does it persist beyond bodies? How do these intelligences intersect with biblical prohibitions, demonic lore, reincarnation motifs, and avatar theories? Who should arbitrate contracts—governments, churches, scientists, or communities? And when trust in institutions is already brittle, how do you stop a frightened public from begging Leviathan to manage their fear? That last question is the political acid test; you will see the left bid to occupy the role of compassionate intermediary. You will also see conservatives argue for decentralization and personal responsibility in the face of cosmic news. Neither side is ready for the metaphysical repositioning disclosure demands. A movie can start the dialogue; a book needs to map the terrain. 6

Some insist Spielberg’s film is simply entertainment, not a node in the broader campaign. I don’t buy that. The speed with which the project moved—kept under wraps, then billboards, then a title and trailer in mid-December, releasing the teaser in front of Cameron’s new Avatar—shows a marketing intelligence calibrated for maximum cultural reach. Hollywood trades (Deadline, Hollywood Reporter, IGN) treat the teaser as a significant event; mainstream outlets (USA Today, ABC, People) amplify with a civic tone rather than tabloid noise. Even the genre press (Polygon, Space.com, GoldDerby) notes the film’s “not like E.T.” mood. None of this is accidental. It sets June 12 as a summer opening thought experiment and primes your mind to connect the dots between the content and the headlines. 5642

Will Disclosure Day be statistically consequential? Not the film itself, obviously, but the ecosystem it feeds is full of numbers worth tracking. ODNI’s 2021 preliminary assessment summarized 144 incidents, with the majority lacking sufficient data—a sober reminder that proof is hard to obtain. AARO’s public briefings and annual reports count hundreds of new submissions, with most resolved. If, ahead of June 12, DOD authorizes another tranche of imagery with automated redactions, the viewership and downstream social metrics—shares, searches, FOIA requests—will spike. Smithsonian tracked thousands of downloads within 24 hours when the Black Vault made CIA UFO documents searchable; VICE documented how hard it was to make those files usable. “Disclosure” is not one event; it is a flow of documents, videos, and structured briefings that accumulate like sediment. Spielberg’s film is a catalytic object in that flow. 122416

Cynics will argue that Hollywood elites are exploiting grief and curiosity. The Rob Reiner tragedy—the director and his wife stabbed to death, their son arrested, with reports that they were headed to an engagement with Barack Obama the same night—has nothing to do with disclosure, yet it illustrates how quickly elite social circles blur into political networks and media narratives. When people claim “this plan was hatched at parties,” they’re not entirely wrong about cultural clustering; they’re bad to infer an omnipotent conspiracy behind every rollout. Information travels through overlapping circles, and films like Disclosure Day live in those circles. The politics is real; the paranoia needn’t be. 2526

If you’re looking for the “interdimensional hypothesis” within Spielberg’s cinematic tradition, Jacques Vallée’s work is the obvious touchstone: UFOs as manifestations at the seams of reality, trickster-like phenomena that feel spiritual as much as technological. Disclosure Day’s teaser seems to flirt with that—not by name, but by making the human body the first receiver. A weather forecast becomes glossolalia; a nun becomes an antenna. It doesn’t matter whether the story lands on ET or ultra‑T; what matters is that the film recognizes that the primary battlefield is consciousness, not hardware. In that sense, Spielberg’s new movie may be his boldest: less “spaceship lands” and more “the mind cracks.” 6

So how should a president handle disclosure in the shadow of Spielberg? Don’t surrender the frame. If it’s Trump, publish what AARO can safely release, demonstrate chain‑of‑custody, and invite independent scientific review, not just classified briefings. Anchor the message in air safety, national security, and scientific humility. Avoid promising a “blue wave of unity” around fear; call for calm competence. And for the rest of us—families, pastors, scientists, local officials—prepare the language for what faith traditions already admit: there are powers and principalities beyond our ken, and discernment is a discipline, not a tweet. The task is not to panic or to hand your agency to distant institutions; it is to keep your soul intact while you learn new facts about the cosmos. Spielberg’s teaser asks the right question: Would proof frighten you? It will. But fear need not decide your politics or your religion. The truth belongs to seven billion people because freedom inspires it. 5

What I expect next: more billboards, a second trailer around Easter, almost certainly tie-ins that echo Arrival’s semiotic puzzles and Signs’ domestic dread—though the production notes suggest Spielberg is avoiding clones of those films and choosing a wider, global lens. Expect chatter about whether Disclosure Day lives in the Close Encounters universe; Koepp refused to confirm or deny. Expect breathless “is this real disclosure?” threads online and new FOIA campaigns piggybacking on the film’s marketing. Expect claims that Democrats will harness the momentum for the 2026 midterms, and counterclaims from the right that they’re weaponizing wonder for votes. Most of all, expect the usual: elites overpromising unity while ordinary people look for ways to protect their families and livelihoods. In that sense, Disclosure Day is not just a movie; it is a rehearsal. 6

The day after the teaser, outlets like Polygon, Parade, Dexerto, and Cinemablend rolled out explainer pieces with production stills, cast bios, and historical callbacks to Spielberg’s UFO filmography. Yahoo’s Space vertical contextualized the director’s lifelong fascination with meteors and Firelight. GoldDerby and IndieWire talked up the billboards as a clever marketing stroke. IGN emphasized the theological line. The coverage reads like a consensus: Spielberg is back in the UFO seat, and this one is bigger and darker. It makes sense to be excited—and it makes even more sense to be prepared for what happens after the lights come up and the credits roll. The film will end; the conversation won’t. 72728298304

Because disclosure, whatever shape it takes, will force every institution to tell the truth about its own limits. Intelligence agencies will confess how much of the archive is press clippings and hearsay; AARO will say how many reports are balloons and birds. Churches will revisit glossolalia and demons with new humility. Universities will expand consciousness studies beyond an evolutionary footnote. And Hollywood—which conditioned us to believe in aliens—will confess that it cannot resolve what theologians and physicists must debate. If the truth belongs to seven billion people, then seven billion people must learn how to live with it. Spielberg can start the conversation; your community must finish it.  And here’s something to think about: there are 8.26 billion people in the world.  Why are they saying “seven”? Are there a billion of those life forms that are not actually human?  But are avatars from an interdimensional realm taking residence in a biological vehicle so that they can interact with the events of our time?  Likely, that’s the point of the trailer: to spawn that kind of massive discussion with ground-shattering implications.

And here’s the hard counsel nobody wants to give: do not let disclosure be your gateway drug to technocratic control. The instinct to panic and hand the reins to whoever promises a plan is the oldest political seduction in the book. The left will speak the language of compassion and unity; the right will talk about the language of sovereignty and order. Both will be tempted to use the unknown to centralize power. Resist the temptation. Disclose widely, validate rigorously, and keep authority as close to the citizen as possible. The truth is large enough to hold your fear without outsourcing your dignity. Spielberg’s teaser got one thing perfectly correct: the truth belongs to seven billion people. The question is whether seven billion people will remember that their consciousness has a power the universe wants, and that they control their own fate much more than they ever thought possible. 5

Executive Summary: The Politics of Heaven and the Post-Disclosure Era

Now, let’s talk about The Politics of Heaven and why now, and why I am putting so much into it.  The project was conceived before, and then written alongside, the production of Steven Spielberg’s Disclosure Day (teaser released December 16, 2025; U.S. theatrical set for June 12, 2026). It argues that (1) the public now lives in an environment of information abundance that is overturning religious, political, and scientific commonplaces; (2) a major cultural catalyst like Disclosure Day will force those assumptions into the open; and (3) the immediate need is a deep, rigorous, post‑disclosure framework—political, theological, and philosophical—beyond what a two‑hour film and follow‑on documentaries can provide. 12

The inflection point: information abundance and challenged assumptions.

Over the last decade, the combination of official UAP releases, FOIA archives, and mainstream acknowledgment has made “serious uncertainty” socially acceptable again. The CIA’s digitized UFO/UAP collections, the National Archives’ new UAP Records Collection (created by the 2024 NDAA), and ODNI/AARO reporting transformed curiosity into a public research agenda; that scaffolding existed before the Disclosure Day teaser, and it contextualizes it now. 34

• ODNI’s Preliminary Assessment (June 25, 2021) made pilot safety and national security the frame, not fringe;

• AARO (established by Congress in 2022) now issues historical reviews and annual updates that resolve most cases but leave several dozen anomalous, while investing in tools to release more raw evidence safely;

• Former President Barack Obama (May 18, 2021) explicitly affirmed that there is “footage and records of objects we don’t know exactly what they are.” 5678

From surface anthropology to deep comparative inquiry.

Classic comparative frameworks (e.g., James Frazer’s The Golden Bough and the early anthropology of religion) were built when information moved slowly, and travelers could “look at the surface and pick up artifacts.” A century of archaeology, psychology, and comparative religious study has since exposed layers those pioneers couldn’t observe, demanding more careful models of consciousness, symbol, and ritual. Today’s public can test those models instantly against real archives and sensor data; a global dialogue that once took lifetimes now unfolds in hours. 4

Consciousness, privacy, and the interdimensional debate.

The popularization of parallel‑worlds and entanglement-style ideas—sometimes via high-concept entertainment, sometimes via speculative science—has normalized conversations about nonlocal effects and mind–matter enigmas. Spielberg’s teaser leans into that terrain without naming it: the human body first, the revelation second. A possessed weather broadcast, mirrored actions, and religious imagery (“Why would He make such a vast universe…”) signal that the primary battlefield of disclosure is consciousness, not craft. That, in turn, reopens classical debates (angelic, demonic, ultra‑terrestrial) in a modern register. 92

Ideological frames that will compete to “own” disclosure.

• A left‑liberal/naturalist reading (which you argue Spielberg’s film may amplify) treats disclosure as an invitation to submit to nature’s deeper, animating order—often expressed in syncretic terms (Native cosmologies, Eastern metaphysics, ecological spirituality). The pitch: disclosure unifies, softens borders, and mandates communal management of anxiety. 2

• A conservative/sovereignty reading insists Genesis grants stewardship—“rule over nature” through ordered freedom—and worries that fear will be instrumentalized to expand central authority. The pitch: disclose widely, validate rigorously, do not trade agency for technocratic management.

• The state (irrespective of party) will tend to present itself as the trusted intermediary—a reflex strengthened by AARO’s mandate and ODNI’s safety language. The risk: turning existential wonder into administrative leverage. 56

Why The Politics of Heaven.

I started this book before Disclosure Day took shape because the collision I outline was inevitable: unprecedented access to information + mainstream validation + public mythologies = paradigm pressure. The book asks:

• What are the politics among non-human intelligences (altered terrestrials, angels/fallen angels, rebels against the Creator)?

• How do those politics interact with human sovereignty, law, worship, and culture?

• What happens when a society learns it is not alone, possibly not even alone in its locked bedrooms—and discovers that manipulation has been continuous across history?

• How do we protect families and faith while absorbing complex data about mind, matter, and presence?

The limits of cinema; the need for rigorous guidance.

A feature film can ignite the conversation; it cannot furnish the multi-level study (political theory, comparative religion, metaphysics, law, ethics, and security) that people will demand after the credits roll. Given the sudden spike in public legitimacy—from billboards announcing “All will be disclosed” to a trailer in front of Avatar—I anticipate a wave of documentaries and explainer shows. This book aims to be the serious handbook readers turn to when they realize the topic touches on Genesis and governance, not only on spectacle. 1011

—

Key Claims (with source pointers)

• Disclosure Day is confirmed as Spielberg’s UFO event film; title, cast, teaser, and June 12, 2026, release date are official. 12

• Mainstream outlets framed the teaser as a return to existential UFO themes, emphasizing the trailer’s religious, psychological, and global stakes. 1213

• Official U.S. channels (ODNI, AARO) shifted discourse by legitimizing UAPs as safety and security concerns; AARO continues a controlled transparency program. 56

• Archives (CIA FOIA; NARA’s UAP collection) broaden public access and keep post-disclosure inquiry tethered to documents, not rumor. 34

• Obama’s 2021 remarks normalized high-level acknowledgement: “footage and records” exist of objects whose behavior resists easy explanation. 8

—

What Readers Should Expect (and Why the Book Matters)

1. A surge of myth-making and fear-based politics.

Parties and media will compete to “frame” disclosure as either communal healing or controlled competence. Your guidance: disclose widely, decentralize interpretation, protect sovereignty. 5

2. Religious re‑reading under pressure.

Expect new homiletic and doctrinal work on angels/demons, possession, discernment, and cosmology. Provide guidance: restore biblical guardrails, engage comparative traditions seriously, and reject sentimental syncretism.

3. Law, security, and ethics.

Air safety, sensor policy, and data custodianship will dominate hearings; civil liberty questions (privacy, mind–machine interfaces, and conscience) will follow. Your guidance: keep civil protections strong, resist “emergency powers creep.”

4. Consciousness first, technology second.

The teaser’s grammar—and much of the historical record—suggest the human mind is the first theater. Your guidance: form communities of discernment, not fandoms of panic. 9

—

Footnotes & Selected Bibliography

Footnotes / Source list

1. “Disclosure Day trailer/title/release” — Deadline (Dec 16, 2025); Hollywood Reporter (Dec 16, 2025). 12

2. “Teaser themes, religious lines, cast highlights” — IGN (Dec 16, 2025); Polygon (Dec 16, 2025). 912

3. “Times Square billboards/placement” — GoldDerby (Dec 16, 2025); IndieWire/Yahoo (Dec 16, 2025). 1011

4. “ODNI Preliminary Assessment; UAPTF creation” — Wikipedia summary of ODNI report (citing ODNI, June 25, 2021); DoD release on UAPTF (Aug 14, 2020). 514

5. “AARO historical record & transparency posture” — AARO Historical Record Report Vol. 1 (Feb 2024); ABC News interview with AARO director (June 4, 2025). 67

6. “CIA FOIA ‘UFOs: Fact or Fiction?’; Black Vault / Smithsonian overview” — CIA Reading Room; Smithsonian (Jan 15, 2021). 153

7. “National Archives UAP Records Collection (RG 615)” — NARA topic page (Apr 24, 2025). 4

8. “Obama 2021 remarks on James Corden” — NBC News (May 18, 2021). 8

Selected bibliography (for your appendix)

• Office of the Director of National Intelligence. Preliminary Assessment: Unidentified Aerial Phenomena. June 25, 2021. 5

• Department of Defense (UAPTF Establishment). Release, Aug 14, 2020. 14

• All‑Domain Anomaly Resolution Office (AARO). Report on the Historical Record of U.S. Government Involvement with UAP, Vol. I. Feb 2024 (DOPSR‑cleared). 6

• CIA FOIA Reading Room. UFOs: Fact or Fiction? 1940s–1990s collection. 15

• National Archives. Records Related to UAPs (RG 615). 4

• Deadline; Hollywood Reporter; IGN; Polygon; GoldDerby; IndieWire/Yahoo—industry and mainstream coverage of Disclosure Day teaser and release. 129121011

—

Reference Notes & Sources

• Universal/industry coverage of Disclosure Day title, teaser, cast, and release (Dec. 16, 2025): People, ABC News / GMA, Deadline, Hollywood Reporter, IGN, USA Today, Polygon, Consequence, Dexerto, Cinemablend.

• Times Square billboards and teaser placement before Avatar: Fire and Ash: GoldDerby, Hollywood Reporter.

• Spielberg’s belief statements on extraterrestrial life/background features: Space.com / Yahoo syndication.

• U.S. UAPTF establishment, ODNI Preliminary Assessment (June 25, 2021), AARO creation and historical report (Feb. 2024), and AARO transparency posture: U.S. DoD release, Wikipedia summary of ODNI report, ABC News interview with AARO director, AARO Historical Record Vol. 1 PDF.

• CIA UFO archive and public access context: CIA FOIA Reading Room, Smithsonian overview, NARA UAP Records Collection page, VICE on Black Vault.

• John Podesta: Wikileaks searchable emails (UFO threads), Mother Jones feature on Podesta’s UFO advocacy, Obama Library FOIA finding aid, coverage of Edgar Mitchell and Tom DeLonge emails: Wikileaks search, Mother Jones, Obama Library FOIA 22‑18746‑F, Unknown Country summary, Wikipedia background on Podesta emails.

• Barack Obama public comments on UAPs (May 2021): NBC News, The Independent, CNN video.

• Rob Reiner case (December 2025): CBS News, ABC News, Los Angeles DA press release.

Rich Hoffman

Click Here to Protect Yourself with Second Call Defense https://www.secondcalldefense.org/?affiliate=20707