According to Marzulli, the Nephilim exist because of real estate. He argues that the Fallen Angels personally set up the Nephilim of the book of Numbers on land that God wanted in Israel in order to secure the real estate for Satan. He then backs up all the way before the Flood and tell us that the Nephilim dispersed from Canaan to Europe and to the New World, and he claims that Thor Heyerdahl’s Ra voyage from Egypt to Barbados “proved” that the Bible giants could have sailed from the Old World to the New.
Marzulli then engages in a bit of deception. He interviews Chief Joseph RiverWind and his wife, Dr. Laralyn RiverWind, about a large pipe that he believes the Nephilim smoked in ancient America. He implies that the RiverWinds, who are Native American, provide confirmation of the Nephilim from outside the Bible, but he declines to share with viewers that the RiverWinds are evangelical Christian missionaries and attend various Nephilim conferences with the usual gigantology suspects. He essentially uses their ethnicity to imply an independence of thought absent from their philosophy.
Marzulli then follows Steve Quayle in alleging that Inca and pre-Inca sites are nearly impossible to build today and must have been constructed by a lost civilization with sophisticated technology and astrology. “What if there is a hidden history Like Scotty Wolter of American (sic) Unearthed suggests?” he asks. He cites Wolter’s claims about archaeoastronomy to suggest that only Fallen Angels and their progeny could have such sophisticated understanding of the stars.
In Peru, Marzulli meets up with protean fringe history fraud Brien Foerster, late of Ancient Aliens, Expedition Unknown, The Unexplained Files, etc., to go hunting Nephilim in an excerpt from one of Marzulli’s Watchers DVD series. Foerster alleges that the lost builders of Inca buildings melted their stones in order to construct their walls. Foerster tells Marzulli that legend attributes Sacsayhuaman to giants, and it’s interesting to see Foerster, who has recently presented himself on the Travel Channel as a sober “expert” in Peruvian culture, throw all that out the window to ascribe all ancient Peruvian sites, including Machu Picchu, to “a mysterious culture of incredible sophistication existing long before history. […] It may have been the Nephilim. That theory is as strong as any other.” He later specifies that this isn’t just a different culture but “an unknown race.” He will truly say anything for attention.
I don’t suppose it’s worth mentioning that there are no widespread accounts that native Peruvians attributed Sacsayhuaman to giants. Instead, a European, Antonio León Pinelo, made the claim in 1656. Unable to countenance ascribing greatness to Native peoples, he instead argued that the site must have been built by the Nephilim before Noah’s Flood. Indeed, what legends do exist for pre-Inca sites assert either that the Inca claimed their ancestors built them or that no one knew who was responsible (e.g. Pedro de Cieza de León, Chronicle of Peru 1.105).
Marzulli concludes that Peruvian architecture is antediluvian, and Sacsayhuaman in particular was built by the Nephilim themselves. Mexico, however, he believes contains only “post-Flood” cities of inferior architecture. “We don’t see megalithic works” in Mexico he said, wrongly adding that Teotihuacan’s Pyramid of the Sun is the world’s largest pyramid. It is not. That honor falls to the Great Pyramid of Cholula, and you’d think Marzulli would know that since a colonial-era legend recorded by the Spanish associates it with the Tower of Babel and the Great Flood—the subjects Marzulli is exploring!
The text appears in Ignatius Donnelly’s Atlantis: The Antediluvian World, from Father Duran’s 1585 Historia Antiqua de la Nueva Espana 1.1, but it’s actually a plagiarism of John T. Short’s translation. I didn’t know that when I compiled my Foundations of Atlantis. I should know better than to assume honesty from any fringe writer. Anyway, here is the passage:
In the beginning, before the light of the sun had been created, this land (Cholula) was in obscurity and darkness, and void of any created thing; all was a plain, without hill or elevation, encircled in every part by water, without tree or created thing; and immediately after the light and the sun arose in the east there appeared gigantic men of deformed stature and possessed the land, and desiring to see the nativity of the sun, as well as his occident, proposed to go and seek them. Dividing themselves into two parties, some journeyed to the west and others toward the east; these travelled; until the sea cut off their road, whereupon they determined to return to the place from which they started, and arriving at this place (Cholula), not finding the means of reaching the sun, enamored of his light and beauty, they determined to build a tower so high that its summit should reach the sky. Having collected materials for the purpose, they found a very adhesive clay and bitumen, with which they speedily commenced to build the tower; and having reared it to the greatest possible altitude, so that they say it reached to the sky, the Lord of the Heavens, enraged, said to the inhabitants of the sky, ‘Have you observed how they of the earth have built a high and haughty tower to mount hither, being enamored of the light of the sun and his beauty? Come and confound them, because it is not right that they of the earth, living in the flesh, should mingle with us.’ Immediately the inhabitants of the sky sallied forth like flashes of lightning; they destroyed the edifice, and divided and scattered its builders to all parts of the earth.
As the episode draws to a close, Marzulli teases the upcoming release of his new DVD Watchers X and his new book Nephilim Hybrids. He claims that proof of the Nephilim exists in a photograph from a confessed twentieth century fraud. Marzulli thinks that the museum housing the photograph of Ralph Glidden standing above some large bones is engaged in a conspiracy because they cropped the skeleton from the version shown in the museum. “What do they have to hide?” he asks, implying that the museum wants to oppose Biblical truth. More likely is the fact that the picture is a fake, staged for publicity, and the museum used Glidden’s image without the fakery.