Month: June 2026

Superman’s Mysterious Murder/Suicide Case Solved

Superman’s Mysterious Murder/Suicide Case Solved

Sometimes, even when separated by decades, correlations emerge between the volumes of fallacious narratives perpetrated by mainstream media sources. In this case, believe it or not, a rather unexpected connection was discovered when one’s previous investigation into the one-time music industry phenomenon known as Vanilla Ice, identified as a media-generated fabrication portrayed by Hollywood actor Ben Affleck (aka Prince Joachim of Denmark) – SEE: Vanilla Iceman Melts Under the Heat – led to the ‘mysterious’ murder/suicide of George Reeves, the Hollywood/television actor originally cast in the role of Superman during the era of the 1950’s.

Among Affleck’s professional resume was found listed the starring role in Hollywoodland, a cinematic narrative which recounts the Hollywood career of B-list actor turned network television star George Reeves, his ascendance to fame as the ‘Man of Steel’, and the subsequent investigation into the apparently strange circumstances surrounding his alleged suicide, or perhaps his murder, depending upon whichever trail of the mystery one is willing to follow.

Turns out, both paths are blind alleys navigating towards oblivion, stretching on towards the crack of doom.

Essentially, Hollywoodland features a contemporary CIA asset paying tribute to yet another for the purposes of bolstering the dubious credibility of old fictions and reacquainting the public with their desire to live vicariously through Hollywood’s tragic myths.

While it was previously demonstrated that Hollywood actor/director Affleck has been a lifelong CIA asset, the actor known as ‘George Reeves’ was merely one among a dizzying array of character modifications portrayed over a period of decades by yet another intelligence-controlled Jesuit-educated asset who also emanated from European royalty. As shall be chronicled, the royal intelligence asset once known as ‘George Reeves’ was also cast in historically significant roles which helped to manipulate and to shape the public’s perception of not only 20th century history, but of American politics.

OCCULT CAPED CRUSADER

George Reeves began his acting career at the Pasadena Playhouse, a theatrical venue which famous American playwright George Bernard Shaw dubbed the ‘Athens of the West’, likening the theater’s communal, creative atmosphere to the ancient Festival of Dionysus. In ancient Greece, Dionysus was the god of wine making, fertility, festivity, insanity, ritual madness, religious ecstasy, hedonism, and, of course, theater. Marble edifices of Dionysus are often accompanied by a thyrsus, a fennel stem scepter wound with poison ivy and dripping with honey. Symbolically, the scepter of Dionysus is dualistic in nature. Simultaneously, it represents both a beneficent magical wand and also a weapon used to destroy those who might oppose the god’s cult. By an odd stroke of concurrence, Shaw was the author of a play entitled ‘Man and Superman’, based upon Frederick Neitzche’s philosophical idea of the transcendent ‘Übermensch’. An avowed if not devoted Fabian socialist, Shaw’s play featured a character named John Tanner, author of ‘The Revolutionist’s Handbook and Pocket Companion’. Within the context of his play, Shaw used Neitzche’s philosophical treatise that mankind is evolving through Darwinian natural selection towards ‘Superman’ and develops or refashions it to further suggest that the prime mover in this revolutionary selection process is the woman. In fact, in the third act of Shaw’s play, the character of Don Juan transitions into a female.

Obviously, Shaw observed the theater as an instrument of social and political revolution and as a vehicle for socialist/Marxist propaganda rather than for the sole purpose of merely providing trivially oriented public entertainments.

The idea for the character of Superman more familiar to modern television audiences derived from a comic book styled cape-wearing prototype, a character capable of flight named Doctor Occult which was created by writers Jerry Siegel and Joe Schuster in the 1930’s for DC Comics. Among the other copious magical superpowers attributed to Doctor Occult, the character possessed the capability to create illusions.

Illusions? The occult?

Under the circumstances, these concepts are quite relevant. Because when it comes to considering the story of George Reeves, renowned for his lead role in television’s Adventures of Superman, and the story of his alleged murder/suicide, we’re dealing with nothing more than media created illusions, an occult alchemical process of fabricated images manifesting into material reality. The success of this process is due not only to the media sorcerer’s authoritatively toned powers of suggestion and masterful command over theatrical displays of sleight of hand but in equal measure due to the fact that the intended audience desires to be enchanted by such clever but thinly veiled deceptions. The sorcerer knows that the audience holds an insatiable appetite for the conjuring of what appear to be supernaturally inspired miracles, and for the seemingly magical creation of powerful myths indelible enough to echo into remote posterity. It is the public’s willingness to believe in or to become part of something larger than themselves, their inherent but childlike trust in parental voices of authority which causes them to blindly follow a messianic shepherd leading them astray, their insatiable if not overpowering hunger for transcendence that absolves the magician of any culpability for having deliberately deceived them. Yet, when someone dares attempt to inform the audience just how the sorcerer did the trick, he risks being punished with a storm of indignation, scornful rebuke. On the other hand, if one values truth as a rare virtue, the consequences of taking such risks are of no ultimate concern.

MILITARY MOTION PICTURE PROPAGANDIST

Before taking on the role of Superman, George Reeves was somewhat of a journeyman actor. Despite having starred in both Gone with the Wind and From Here to Eternity, Oscar winners considered to be Hollywood classics, Reeves was somehow unable to further capitalize, and having failed to secure any greater opportunities at being cast in leading roles for high-profile blockbuster films, he had to settle for smaller roles in B-level Westerns such as Hopalong Cassidy and low-grade war propaganda pictures with Ronald Reagan (aka Frank Sinatra/King Constantine II of Greece). With his career in Hollywood seemingly stalled, Reeves entered into the U.S. Army in 1943. It is at this point in the actor’s biography that a glaring contradiction surfaced. In the same paragraph, Wikipedia claims that due to his being inspired by an appearance in So Proudly We Hail with Claudette Colbert for Paramount Pictures, Reeves chose to enlist but then, inexplicably, in the very next sentence, chooses to contradictorily report that the actor was drafted.

Somebody should inform the boys at Langley writing this tripe for Wikipedia that it can’t be both.

Nevertheless, Reeves’s contract with Paramount Pictures served as an investigative clue because a certain iconic, legendary singer/actor and serial perpetrator of Post-Modern Reality Simulation who turned out to be one of Reeves’s character modifications was also signed to Paramount during the World War II era. Assigned to the U.S. Army Air Force, Reeves starred in the USAAF’s Broadway production of Winged Victory, a war-time theatrical propaganda piece staged to raise morale and proceeds for the Army Emergency Relief Fund. Reeves was then transferred to the Army Air Force’s First Motion Picture Unit headquartered in Culver City, California. Everyone may recall that Culver City was where the hoaxed car crash involving Hollywood actress Anne Heche was staged.

SEE: Anatomy of a Hollywood Death Hoax & Anatomy of a Hollywood Death Hoax II

Under the command of Hollywood executive Jack Warner of Warner Brothers who was commissioned as a Lieutenant Colonel, Army Air Force’s First Motion Picture Unit produced over four-hundred war propaganda films which featured Clark Gable, Jimmy Stewart, Ronald Reagan, and DeForrest Kelley of Star Trek fame cast in starring roles. Nicknamed Celluloid Commandos, and working under the moto ‘We Kill ‘Em with Film’, in 1944, the unit produced Special Film Project 152 which consisted of an 80 by 60 ft. scale model (1 foot: 1mile) depicting the topography of Japan, a massive fabrication complete with mountains, buildings, railroads, rice paddies, cloud formations and even fog. Wikipedia confirms that these ‘war’ films were produced using a specially mounted overhead motorized camera which could be maneuvered to simulate an airplane’s flight over the expansive model.

Flight simulations over fabricated topographical maps?

Sounds very similar to what NASA did later on to simulate their Apollo ‘moon missions’.

Undoubtedly, after emerging from his stint in the U.S. military’s First Motion Picture Unit and as a well-trained, first-rate U.S. corporate government wartime propagandist, George Reeves was conceptually well familiar with how to effectively use media narratives combined with film trickery and with how such soft power resources could potentially be used to deceive the public. Even after contracting to perform as the ‘Man of Steel’ in Adventures of Superman for ABC Network, owned by Walt Disney Company, Reeves retained his post as a government lackey. In 1954, amid the triumphant ratings bonanza of his show’s second season, Reeves appeared on behalf of the U.S. Treasury Department in the starring role of Stamp Day for Superman to urge the American public to buy U.S. savings bonds.

SUPERMAN DIDN’T DODGE THE BULLET

To this day, continued discussions, debates over whether George Reeves was either murdered or suicided are still capable of stirring up controversy. Think of the irony – the character of Superman, faster than a speeding bullet, wasn’t fast enough on the 16th of June 1959 to dodge the very lethal projectile alleged to have killed him. A single bullet which, according to official reports, was found lodged in a bedroom ceiling, with the empty shell casing discovered underneath the naked body of the deceased. If this doesn’t sound unlikely enough, the subsequent police investigation was handled with stunning incompetence. In either case, the gun alleged to have been used by Reeves to commit suicide or identified as the murder weapon was never checked for fingerprints and the deceased’s hands were absent of gunpowder burns. Bloodstained sheets recovered from the crime scene, rather than carefully collected in evidence for forensic evaluation, examination, were instead sent out to be laundered.

But that’s not all because there seemed to be no end to the comedy of errors in relation to the bumbling police investigator’s handling of George Reeves’s crime scene.

According to an official report released on June 23rd from the office of Los Angeles County Coroner’s Mortuary, the body of the deceased had been embalmed less than one week before the autopsy examination took place. This is not only highly irregular but a glaring indication of reckless and perhaps even deliberate evidentiary mishandling. Embalming before autopsy not only interferes with the thoroughness of a forensic examination but eliminates altogether any possibility of positively determining cause of death. But this is all a moot point because there was no suicide, no murder and therefore, no corpus delicti to examine. Reeves’s residence, the scene of the alleged crime, was in proximity to not only Lookout Mountain, the U.S. government’s film propaganda factory, but to 10050 Cielo Drive which, a decade later, would become the scene of the infamous Manson family murders, another dramatic media created hoax starring Hollywood executive David Geffen in the leading role.

Reportedly, just before his untimely death, Reeves had decided to put an end to his long-term amorous affair with Toni Mannix, wife of Eddie Mannix, a Metro-Goldwyn-Mayer film executive and infamous Hollywood ‘fixer’, and became engaged to Leonore Lemmon, described as a ‘society play girl’. Eddie Mannix was often called upon by his boss, Louis B. Mayer, to keep his stars names out of the tabloids and to keep a lid on any ongoing Hollywood scandals. But when it came to renegotiating contracts with a particularly difficult star or diva, upon orders from Mayer, Mannix could just as easily create a scandal so that his boss could maintain the upper hand or find a readymade excuse to dispose of a problematic star altogether.

Therefore, if there was anyone at that time in Hollywood who could have dreamt up Reeves’s faked death scenario and then skillfully maneuvered to both handle and to control the direction of the prevailing mainstream media narrative, it was Eddie Mannix.

Soon after news of Reeves’s death broke, it was Lemmon’s testimony repeated to the Hollywood press by an LAPD police sergeant regarding speculations as to Reeves’ ‘depressed’ mental condition over the state of his stagnated acting career while typecast in the role of Superman which made the boldest newspaper headlines. Though such headlines may have been enough to convince the American public-at-large, statements made to the police and entered into the official record by society playgirls aren’t considered expert testimony, however, and from a purely legal standpoint, since Lemmon wasn’t a professional psychiatrist or psychologist, her inexpert evaluation as to Reeves’ state of mind prior to his death would have been regarded by cross examining attorneys, judges, and juries as speculative at best. Nevertheless, there is always a kernel of truth to be found among the stinking dung pile of lies, and it seems very likely that Reeves, or the European royal behind the mask of “George Reeves” was desperate to retire from the role of Superman and move on to something else. Which, as it turns out, is exactly what happened.

What evidence exists to suggest that George Reeves was a hidden European royal?

How about the fact that Reeves’s old flame Toni Mannix is a near dead ringer for Princess Lillian, royal consort to Belgian monarch, Leopold III?

Below in descending order: Toni Mannix, Princess Lillian of Belgium

GEORGE REEVES=ALAN YOUNG/WILLIAM F. BUCKLEY JR./BING CROSBY/KING LEOPOLD III OF BELGIUM

Image comparison, ear biometric and facial recognition analysis indicate that “George Reeves” faked his death and then assumed the identity of British actor Alan Young who starred in the popular hit television series Mister Ed from 1961 until 1966. While Reeves was contracted with Disney’s ABC network for the role of Superman, Young also has a Disney connection. A talented voice artist, Young provided the voice for Disney’s animated character Scrooge McDuck. Layers of prosthetics have been heavily and strategically applied to the respective faces and ears of both Reeves and Young to better distance the fabricated characters from the well-hidden identity of the royal host acting template from which they were modified.

Below in descending order: George Reeves, Alan Young

Further ear biometric and facial recognition analysis indicates that George Reeves aka Alan Young was modified into the pompous, pseudo-intellectual conservative political television host/commentator and Yale educated Skull and Bones freemason William F. Buckely Jr.

Below in descending order: Alan Young, William F. Buckley Jr.

Buckley’s popular PBS talk show, Firing Line, was nothing more than staged political vaudeville, and the host’s engagement, debate with his variety of guests was scripted to remain within the closely guarded confines of the artificially created progressive left/conservative right paradigm. Speaking of Buckley’s talk show guests, image comparison analysis indicates that Hollywood actor John Cassevettes once posed as far left liberal sociologist “Paul Goodman” on a Firing Line episode aired in 1966.

Below in descending order: Paul Goodman, imposter sociologist & guest on Buckley’s Firing Line & Hollywood actor John Cassevettes

During the 1960’s and 70’s, Buckley emerged as the intellectual leader of America’s right-wing conservative political movement which was covertly funded by Rockefeller/Standard Oil interests. Essentially, the fabricated media-generated character scheme known as “William F. Buckley Jr.” was a recruited asset of Jesuit-controlled CIA, handled and set up by Langley as a far-right political gas bag, a grand ploy to grab as much media attention as possible to keep the American public misdirected, misinformed, and pacified. This gambit, an entirely manufactured scenario, enabled the Rockefeller family, an historical fabrication operating as a front for the royal House of Saxe-Coburg-Gotha, to freely and covertly begin to maneuver their UN Agenda 2030/2050 and its seventeen sustainability goals into place under the cover of “national security” with the help of the international intelligence octopus which includes CIA, FBI, NSA (National Security Agency), DIA (Defense Intelligence Agency), ONI (Office of Naval Intelligence), Homeland Security, and Mossad.

Wouldn’t you know it though, as shall be demonstrated shortly, oil tycoon John D. Rockefeller was a fabricated character modification of King Albert I of Belgium, the father of Leopold III, identified as the host acting live-action role player behind the masked portrayals of the modified character fabrications known as George Reeves, Alan Young, William F. Buckley Jr., legendary Hollywood actor/pop singer Bing Crosby, and Adolf Hitler.

Ear biometric, facial recognition analysis demonstrates that both William F. Buckley Jr. (aka George Reeves/Alan Young) and Bing Crosby are character modifications of King Leopold III of Belgium whose father, in turn, was King Albert I of Belgium (aka John D. Rockefeller). The royal family of Belgium is genealogically connected to the royal House of Saxe-Coburg-Gotha aka Hanover/ Windsor which, in turn, can be genealogically traced back to the Julio-Claudian dynasty of the ancient Roman Empire. During an interview on British television in 1972 with Sir Michael Parkinson, Bing Crosby gave away some of Hollywood’s secrets regarding the actor/character modification process. Crosby, who matriculated at Jesuit-founded Gonzaga University, joked with Parkinson that since his ears often ‘stuck out like a taxi with both doors open’, the Hollywood makeup artists would pin them back with copious amounts of glue so that the actor could better assimilate to any particular role. Crosby also informs Parkinson that while he was at Gonzaga, he was one of the best competitors on the school’s debate team. This revelation represents another clue, further cementing Crosby’s connection to William F. Buckley, who was often hailed by the mainstream media as the finest political debater of his generation.

It should also be noted that the character fabrications known as Reeves, Young, Crosby, and Buckley were also strategically modified with custom made hair pieces due to the speedily receding hairline of the host acting template they all shared in common, King Leopold III of Belgium.

Below in descending order: William F. Buckley Jr., Bing Crosby

Below in descending order: Bing Crosby, King Leopold III of Belgium

Below in descending order: King Albert I of Belgium, John D. Rockefeller

Ear biometric, facial recognition analysis also confirms that Alan Young (aka George Reeves), William F. Buckley Jr. (aka Bing Crosby/King Leopold III of Belgium) and Adolf Hitler are one and the same.

Below in descending order: Alan Young, William F. Buckley Jr., Adolf Hitler

Vanilla Iceman Melts Under the Heat

Vanilla Iceman Melts Under the Heat

For quite some time now, the story of Vanilla Ice’s meteoric rise to popular music superstardom has existed as some long-abandoned relic, a dusty artifact kept hidden away in some darkened corner of the collective memory’s attic. Lo and behold, the corporate mainstream media recently had this decrepit antique retrieved from its gloomy loft, brushed off the entombing cobwebs, cleansed away the layers of dust, and then proceeded to prominently display the polished curio for reevaluation.

DON’T CALL IT A COMEBACK

Just when one thought it wasn’t possible that the MSM’s recent news content could become any more absurd, ridiculous, and perhaps strange, something even more strange still this way comes.

Decades after his brief triumph and nearly perilous fall from grace, Vanilla Ice was recently announced as one of the featured headliners of Freedom 250, a concert scheduled for July 2026 on Washington D.C.’s National Mall to celebrate America’s 250th birthday.

This announcement has helped to rekindle the extinguished flame of the rapper’s once colorful, charismatic image, rejuvenating nostalgic memories for the dimmed iridescence of a forgotten era, a world inhabited by a generation made deaf, dumb, and blind by earthquaking subwoofers, pungent wafts of noxious Aqua Net, and the pounding glare of nightclub strobes.

If history has taught us anything, it is that myths, legends will persist as long as the candle of belief remains burning in the memory of those still living.

Though in the past, Vanilla Ice has been scourged for the inconsistencies, contradictions that he’s perpetrated regarding the dubious details of his biographical narrative and for the still lingering confusion over his exact geographical emanations, rest assured, the path of Ice’s deliberate deception runs much deeper, leading towards a cross of execution upon which his meticulously concocted myth is about to be finally crucified. The identity of the Hollywood actor/director and European royal prince behind the carefully crafted showbusiness facade of Vanilla Ice shall be thoroughly exposed as an admitted and active CIA asset, along with the Iceman’s co-perpetrator and one time girlfriend – Madonna Louise Ciccone – who, as it so happens, is also a master of disguise connected with the same royal family.

KOPPLEMAN & SBK

Between the obnoxious spandex garbed heavy metal hair brigades which dominated FM radio in the late 1980’s and the emergence of Seatle based grunge rock along with the battleground factions of east/west coast gangster rap during the early to mid 1990’s, there was the parachute pantalooned, spangled jumpsuit clad Vanilla Ice who, for an abbreviated but shining moment, assumed popular music’s center stage to reign as bubblegum hip hop’s undisputed clown prince, the crowned monarch of teenybopper vaudeville.

With a prepackaged, predigested backstory of hardscrabble origins liberally garnished with epic, even heroic tales of street violence, the dramatic details of which have seemingly been altered with every breathless retelling, Ice magically emerged seemingly out of nowhere as a manufactured but fully realized comic book superhero. Mainstream sources such as CIA controlled Wikipedia admit Ice’s biography which was distributed to the press by his recording label’s A&R (Artist & Repertoire) department was entirely fabricated out of whole cloth. Depending upon whatever narrative version appeared expediently necessary at the time to awe the impressionable sensibilities of the millions strong suburban dwelling teenaged cultural adventurers, those to whom ‘Ice Ice Baby’ ultimately served as the transcendent soundtrack to their uneventful lives, Vanilla Ice was alleged to have hailed from the gritty ghettos of either Dallas or Miami.

Turns out, it was neither.

In fact, it is quite doubtful the royal actor/Hollywood CIA asset cast in the role of the Iceman would ever dare to step foot within any urban ghetto.

But it wasn’t the street credibility factor wholly invented for the artist formerly known as Robert Matthew Van Winkle which eventually opened a vista to roaring but fleeting success for what was essentially a plastic skinned life-sized doll propped up in celebratory tribute to the mythical American Dream.

When it comes to ultimately understanding the truly incomprehensible commercial mass appeal garnered by one hit wonders such as Vanilla Ice, a lyric culled from Howlin’ Wolf’s ‘Back Door Man’ may prove instructive, however bluntly or crudely stated: ‘the men don’t know what the little girls understand’. After all, it wasn’t cornball remedial level lyrical skills or clumsy dance routines which sold the Vanilla Ice Cream Man to screeching, hyperventilating throngs of hormone addled young adolescent girls barely out of their braces and not yet old enough to obtain a driver’s license. Rather, it seems more likely that it was Charles Koppleman, co-founder of Ice’s now defunct record label SBK, who observed that Van Winkle possessed that prime elemental ingredient which has always been necessary in selling any potential teen pop phenomenon with crossover appeal to a fickle audience demographic with short attention spans ripe for exploitation but hungering for the next photogenic bedroom pin-up – raw libidinous animal charisma.

If nothing else, ‘Robby Van Winkle’ undeniably possessed star power’s magnetism in spades.

As for Koppelman, well before Vanilla Ice’s eventful arrival in the public arena, he was a proven music industry veteran and accomplished corporate executive whose professional career spanned back to the era of the early 1960’s, to New York City’s Brill Building, a renowned song writing factory which consisted of legendary composers Neil Sedaka, Carol King, Don Kirchner, Barry Mann, Gerry Goffin, Cynthia Weil, Neil Diamond, and Burt Bacharach who collectively turned out an endless stream of sugary flavored hits for a slew of teen idols and girl group ensembles.

While working with Kirchner, dubbed ‘the man with the golden ear’ and who later went on to manage the career of the made-for-television pop fiction The Monkees which starred Michael Nesmith (aka John Lennon/Rod Stewart/Steve Jobs), Koppelman learned how to instantly identify a potential hit song, compositions arranged around an undeniably infectious hook, a prerequisite for those rare gems capable of ascending to the top position on Billboard’s pop charts.

SEE: Rotten Apple Biting Beatle Gets Busted

Needless to say, there were few then working in the music industry other than Koppelman who understood the spellbinding power popular music was capable of holding over its targeted audiences, and when he heard ‘Ice Ice Baby’, though Koppelman may not have been cognizant of the fact that the song’s title was street slang for methamphetamine, he undoubtedly recognized, for the sake of his record company’s stockholders, that both the song and the young prospect performing it demanded his immediate and focused attention. In addition to his well-practiced executive flair, it was truly a stroke of serendipitous fortune for Koppelman when he was essentially handed a fresh-faced and ready-made music industry plant by Jesuit-controlled CIA whom, in turn, controlled not only the crack cocaine traffic to all major American cities but, by that time, had also gained control of Hollywood’s vast entertainment complex. With his SBK recording label operating under the umbrella of Tavistock connected EMI, an arm of both British and American intelligence, Koppelman also well understood that popular music was a weapon of psychological warfare disguised as profitable commerce. One look at the occult symbolism – Eye of Horus, pentagram Star of Baphomet – featured in SBK’s logo should be indication enough concerning the covertly sinister shenanigans to which Koppelman and his corporate cronies were up to when deciding to fully commit their considerable marketing and promotional resources to break Vanilla Ice into the music industry’s mainstream as a teasing appetizer to gangster rap’s full entree.

To provide even greater perspective, it is most certain that Koppelman was fully aware that the release of the comparatively tame ‘Ice Ice Baby’ amounted to a clever maneuver, the desensitizing calm before the hurricane of gangster rap’s destructive storm, akin to British Prime Minister Chamberlain’s benign but feeble attempt at diplomatic appeasement before the inevitable attack of an unrelenting Blitzkrieg. Where some might view such soul-destroying rapine and pillage of an entire generation force fed a steady diet of cacophonous nihilism as the making of a barren desert, music industry executives like Koppelman merely call it profit making. Wouldn’t you know it though – deeper investigation into Koppelman’s professional resume reveals that he was also chairman of Living Omnimedia, a company associated with Martha Stewart (aka Diane Sawyer/Princess Diane von Furstenberg), the spouse of Hollywood executive Barry Diller (aka Dwight D. Eisenhower/Oliver Stone/Prince Eduard Egon von Furstenberg) and CAK Entertainment, a corporate marketing and brand development firm which performs advisory work for Hollywood actress/music industry star Jennifer Lopez, managing her apparel and lifestyle product lines contracted with Kohl’s department stores. Lopez, of course, has been identified as a modified character scheme in connection to Madonna Louise Ciccone, a serial perpetrator of Post-Modern Reality Simulation.

SEE: Famous Face Behind “Ellen DeGeneres”

It was this investigative path which led straight to the Hollywood actor and royal prince behind the celebrity persona of Vanilla Ice. Turns out too, that Ice’s one time paramour is a European royal princess who has been modified into a number of Hollywood celebrity roles.

MADONNA=LOPEZ/LAUPER/JOLIE/PRESLEY AKA PRINCESS MARIE OF DENMARK

Soon after ‘Ice Ice Baby’ and the album length recording it was culled from – ‘To the Extreme’ – reached its zenith of popularity in late 1990, Vanilla Ice reportedly became embroiled in an eight month long romantic tryst with Madonna Lousie Ciccone (aka Angelina Jolie/Jennifer Lopez/Cyndi Lauper/Lisa Marie Presley). As observed in the following sets of images, comparative facial recognition and ear biometric analysis conclusively demonstrate that Madonna and each of her fabricated character schemes are modifications of a European royal, Princess Marie of Denmark, the current spouse of Prince Joachim of Denmark, also known as Hollywood actor Ben Affleck and – surprise of all surprises – Vanilla Ice. Under close comparative ocular examination, everyone will be able to observe that the identical structures of the respective brows and especially the eyes featured in the following sets of photographs posted below are shown to be most conspicuously consistent. However, the respective eyes belonging to Madonna, Angelina Jolie, Lisa Marie Presly, and Cyndi Lauper are shown to have been modified with custom fitted/colored contact lenses to further distance each of their character modifications from the host acting live-action template, Denmark’s Princess Marie. It should also be noted that the date of birth listed in Princess Marie of Denmark’s official biographies has been altered, forward dated to suitably distance the royal figure from each of the princess’s strategically modified celebrity character schemes. It is more likely that Princess Marie’s actual DOB is closer to that of Madonna’s which is listed as 1958.

Below in succession: Madonna, Agelina Jolie, Jennifer Lopez

Below in succession: Lisa Marie Presley, Jennifer Lopez, Angelina Jolie, Princess Marie of Denmark

More extensive facial recognition analysis reveals that both Jennifer Lopez and Princess Marie of Denmark have identically located epidermal landmarks which are indicated with encircling and arrowed red marker in the following images.

Facial recognition and ear biometric analysis confirm that shrieky voiced 1980’s MTV pop dynamo Cyndi Lauper is also a fabricated character scheme modified from Madonna Louise Ciccone (aka Princess Marie of Denmark/Jennifer Lopez/Angelina Jolie/Lisa Marie Presley).

VANILLA ICE=BEN AFFLECK/PRINCE JOACHIM OF DENMARK

Comparative facial recognition analysis not only confirms that the respective noses, lips of both Vanilla Ice and Hollywood actor Ben Affleck are identically shaped, structured but comparative ear biometric analysis also demonstrates that the respective epidermal shapes, structures are also identical with Prince Joachim of Denmark. As observed in the succession of images posted below – indicated with encircling, arrowed red marker – both of the fabricated character schemes known as Vanilla Ice, Hollywood actor/director Ben Affleck, and Prince Joachim of Denmark, the host acting live-action template from which both have been modified, have identically placed epidermal landmarks. Teeth analysis also confirms that the respective lateral incisors, canines, first, second bicuspids, and first molars belonging to both Ice and Affleck are identically shaped, aligned, and structured. In addition to Vanilla Ice, Affleck aka Prince Joachim has been identified in the role of other media manufactured character schemes.

SEE: Scott Peterson’s Scripted Legal Drama & Hollywood Princess Performs at UN

In the following video excerpt culled from You Tube, Ben Affleck (aka Vanilla Ice/Prince Joachim of Denmark) can be heard saying that not only is Hollywood filled with CIA agents, but he also tells of his own historically cosey relationship with the Jesuit Superior General’s bell boys holed up in Langley, Virginia. Towards the very end of the interview, Affleck is cajoled into admitting that he too is a most willing and active servant of the agency, just one among the many of CIA’s professional propagandists which have been planted in Hollywood.

Just remember that the next time, if by chance, you happen to here ‘Ice Ice Baby’ and that familiar hooky refrain, that thumping bassline rattling through the speakers of a Mustang 5.0 barreling towards you from out of the misty past like some foreboding specter.