To those grown comfortable living with lies, deception, acknowledging the truth is to risk suffering a fatality perhaps worse than death. To discover the truth, one must first dare to cross the Rubicon of fear. But most dare not because once navigated, the very thought, realization of being unable to return, marooned and left to survive alone in an unfamiliar wilderness, remains inconceivable, too much to bear. It seems that for the unfortunate majority, letting down one’s defenses – ego, vanity – and sacrificing unquestioned faith in improbable beliefs, to stand apart, isolated from the madding crowd to accept absolute, unfettered truth appears too high of a price to pay.
Speaking of death, as undoubtedly most are aware, it was recently announced that, former legendary NFL star, journeyman Hollywood actor, Orenthal James Simpson has shuffled off this mortal coil, reportedly having succumbed to a long-term battle with cancer.
1975: O.J. Simpson #32 of the Buffalo Bills looks on during an NFL game circa 1975. (Photo by Robert Riger/Getty Images)
But there’s much more the MSM left out concerning OJ Simpson which, shortly, in due course, will be further elaborated upon.
One couldn’t help but notice, while eulogizing the “Juice”, conveniently enough, undoubtedly by deliberate omission, the MSM failed to report that not only did Simpson become a professional actor even before he was drafted into the NFL, but that he was also employed as a covert CIA asset.
Furthermore, regarding Simpson’s most infamous acting performance during his staged trial simulation spectacle, the MSM fails to report the involvement of Carl Colby, son of former CIA director William Colby. Further investigation has confirmed that Carl Colby lived in Brentwood, Los Angeles, in proximity to “Nicole Brown Simpson”. In addition to this, more shall be shortly revealed about some of the other major participating principals in Simpson’s ‘trial’, regarding Los Angeles County prosecuting counsel “Marcia Clark”, Simpson’s defense attorney Robert Shapiro, Time/Warner and Henry Luce, all of whom, along with “OJ Simpson”, were contract assets utilized by the CIA in the execution of an antagonistically divisive, population destabilizing psychological operation.
Beyond creating, promoting emotionally provocative narratives, the MSM also specializes in the popularization of myths. Typically, such classically inspired tales – of both heroism and tragedy – acquire Shakesperean dimensions.
The media-generated tragedy of Chappaquiddick, which forever dashed the seemingly bright political future of one Ted Edward Kennedy, at once transforming a shining presidential hopeful into a pathetic Hamlet-like figure with no hope of redemption, still echoes into posterity.
As the decade of the 1960’s waned, plunged into a war’s quagmire far abroad, dangerously atomized with chaotic civil strife at home, the subsequent effect of Chappaquiddick’s sorrowful narrative seemed poised to further demoralize an already downtrodden America.
Nevertheless, with the help of a rabid MSM eager to capitalize on the tragedy for the sake of skyrocketed television ratings, sensational front-page headlines, Chappaquiddick unfolded into a compelling drama, a thrilling distraction served up to a nation deeply mired in despondency.
In Chappaquiddick’s morbid wake, the death of Mary Jo Kopechne and the deferred political dreams of the last-living Kennedy brother were subsequently spun into epic drama, a made-for-television spectacle through which a gaping mob of American spectators could vicariously live.
Turns out though, upon further investigation, there’s more truth in the latter characterization than perhaps many could ever possibly conceive.
It is generally believed, by musicians seeking to become stars while wallowing in obscurity and popular music fans alike, that Hollywood music industry executives remain busy constantly scouring nightclubs from coast to coast looking for the ‘next big thing’.
But this widely held belief is a fallacy. Nothing could be further from the truth. The renowned stars with which popular music fans have become most familiar have proved to be sons and daughters of either industry legends, corporate entertainment executives, or the family offspring of those who own the record companies, oftentimes child prodigies who’ve been well trained at the finest performing arts schools to master their specialized trade. After being signed to a contract with a major corporate recording label and becoming designated as a priority project, such artists are instantly surrounded by what is tantamount to an efficient brain trust, consisting of premiere record producers, song writers and arrangers – termed ‘song doctors’ in the industry – top-notch sound engineers, wardrobe and makeup specialists, attorneys, managers, and booking agents.
Since its inception, the Hollywood music industry promotes from within, and those promotions are often based on nepotism. As has been discovered to be the case with contracted assets performing in professional sports – SEE: NFL’s Touchdown Tom Not So Terrific – likewise, popular, profitable assets with successful resumes contracted for employment in the Jesuit and US military/industrial complex-controlled Hollywood music and entertainment industry are routinely recycled into new identities.
Once media marketed entertainment images prove popular with particular audience demographics, to exploit the profitability of new commercial markets, actors or assets working under contract are often cleverly outfitted with sparkling new images, as well as carefully crafted pseudonyms designed for commercial appeal to targeted markets.
In essence, once recycled into new identities and images, Hollywood entertainment industry assets become perpetrators of Post-Modern Reality Simulation designed with the ulterior purpose of promoting social engineering, and with the deliverance of behavioral programming and media messaging. The execution of such operations is directed from the top down by the Jesuit’s Society of Jesus in control of Vatican City in Rome, overseen by military psychological operations units in cooperation with US and British intelligence, while the emotional, behavioral reactions of targeted population demographics are meticulously monitored by organizations such as Tavistock Institute of Human Relations in London, Stanford Research Institute. Such psychological operations prove beneficial to the City of London’s Crown Temple and Swiss banking consortium and their hegemonic maintenance of population centers and the global status quo.
Ironically, while rock music has sold successive generations on the idea of liberating rebellion, they’ve been covertly programmed for enslaving conformity.
Turns out, a pair of intelligence-controlled Hollywood music entertainment assets, perpetrators of Post-Modern Reality Simulation, pose as this article’s featured subjects: “Ozzy Osbourne” and “Randy Roads”.
More extensive investigation indicates and in fact confirms that both of these legendary rock stars were previously known by other famous monikers. One of them was formerly known as a member of perhaps the most famous pop group of the 1960’s, a star who also became known – under another name – as perhaps one of that decade’s most prominent, well-respected, and influential pop musicians and instrumentalists, while the other, before assuming the identity of heavy metal rock guitar god “Randy Roads”, was a 1970’s teen idol cast in the television sitcom “The Partridge Family.” Now, today, this former ‘Partridge’ stars as a podcast sidekick for one of the alternative media’s most influential and well-known figures.
Certain individuals have a knack for remaining clandestine while simultaneously keeping a somewhat conspicuous public profile. A paradoxical scenario to be sure. To those among the general public, however, someone with the capability to execute such a deceptive trick would be considered tantamount to a magician. And yet again, such a feat may not too difficult for one in possession of great wealth, wealthy enough to gain some modicum of influential or even controlling interest in the MSM.
In addition, when one’s son is the ubiquitous cult of personality known as “Elon Musk”, chief executive of both Tesla, Space X and chief proprietor of X, the social media platform formerly known as Twitter, it may be that much easier, after faking one’s death, for a “dead” man to conceal one’s genuine identity with an appropriated pseudonym attached to an alternate persona. If successful at employing such deceptive tactics, one could conceivably hide among the public arena while operating in plain view.
But why make the hypothesis that the man pictured in the image posted above may be “dead”?
Because it turns out that, upon more extensive investigation, “Errol Musk”, alleged to be the father of “Elon Musk” (AKA Prince Constantijn of the Netherlands) is a British royal in disguise, one who was recently alleged to have “died”. Though there isn’t much biographical information available on “Errol”, enough information remains extant to provide possible clues as to his true identity.
1.) Online biographies reveal that Errol’s mother was British, 2.) There exists a rather well-circulated, but dubious MSM promoted narrative which appears derived from a discarded B grade Hollywood action/thriller script treatment, the reported details of which allege “Errol Musk” fended off an attack from a gang of gun toting home invaders at his plush residence in South Africa.
Suspiciously, this particular widely circulated story is not only ridden with gematria coding, but the veracity of its narrative details – like most if not all such stories promoted by the MSM – crumble to utter dust under the weight of even the slightest scrutiny.
For example, despite being outnumbered and outgunned, this MSM promoted story claims that not only did “Errol” heroically emerge intact and alive, but he managed to gun down three of the seven alleged home invaders.
Behind the facade, the lie contained in every media image, a deeper, darker truth remains hidden. Many of the personalities presented by the MSM and even the “alternative” media to the general public, especially regarding those occupying high-profile government positions, are not at all who they appear or claim to be.
Alejandro Mayorkas, current director of Homeland Security, which is merely a public relations front for CIA and the Jesuit Society of Jesus’s international intelligence octopus, claims to be the offspring of Cuban immigrants who escaped oppressive tyranny and came to the US for a better life. Mayorkas’s official biography reflects an all-too-familiar template which, through deeper investigation, has been observed time and again. This particular biographical template – of the Horatio Alger variety – not only smacks of propaganda, reflecting the shopworn and tattered myth of the “American Dream”, but of one belonging to and carefully crafted for a media generated fabricated character scheme portrayed by a well-known Hollywood actor.
This particular Hollywood actor – Bezos Bunk Now Completely Exposed – is a serial perpetrator of Post-Modern Reality Simulation and has also been identified as the live-action role player in portrayal of, yet another high-profile MSM promoted figure, former Amazon chief “Jeff Bezos”, whose own official biography nearly mirrors that of the current but embattled Homeland Security director “Alejandro Mayorkas”. A telltale sign that the narrative of Bezos’s biography may have been merely tweaked or customized by Jesuit-controlled CIA intelligence handlers to fit certain storyline specifications designed for “Alejandro Mayorkas”.
“Mayorkas” is a Jesuit-trained intelligence asset, educated at Loyola Marymount University, a private research institution located in Playa Vista, California which was named after the legendary mercenary warrior reputed to have been the founder of the military-styled Jesuit order in control of Vatican City at Rome.
The making of media myths oftentimes consists of a specific brand of storytelling.
Generally, the brand of narratives in which the MSM specializes – especially those meant for maximum exposure, saturation – have oftentimes been found to be modernized retellings of ancient Greek or Roman myths. In particular, such was found to be the case with the Titan submarine disaster alleged to have occurred back in June of 2023.
As most may recall, one’s investigation into the alleged demise of the Titan submersible and its five crew members demonstrated that the story presented to the public by the MSM not only possessed masonic symbolism, a human interest narrative element recycled from the Titanic hoax, and plot holes larger than a jet airline hangar, but that one of the alleged “victims” – Suleman Dawood – was a photo shopped/raked image of a young Hollywood actor – Jack Champion – associated with esteemed Hollywood director James Cameron who, it also turns out, is the live-action role player behind the portrayal of NASA JPL “rock and roll rocket scientist” Adam Steltzner.
What better way could exist, therefore, to further solidify a modern retelling of an ancient occult myth in the collective consciousness of the general public, than to also cast one of Hollywood’s most iconic actors – one who was once known as the “late” Michael C. Rockefeller – in a starring role as one of the heroic “victims”?
Within an investigative context, minute details are akin to clues hidden along jungled pathways culminating into ultimate revelation.
After studying the performance of the actor featured in the following video excerpt – alleged to be “Phillip Mudd”, American media commentator and former counterterrorism official at both CIA and FBI – everyone will begin to surely notice similarities, in both tone and nuance(s) of voice as well as physical mannerisms, in common with a Hollywood/television actor who rose to stardom during the era of the 1980’s, one who is perhaps most famous for having been cast in the lead role of the Hollywood science fiction blockbuster ‘Back to the Future’.
During his interview with CNN’s Wolf Blitzer, “Mudd” – a surname which, gematria calculation informs, equals 21, 3 7’s, or 777 in English Ordinal Reverse Reduction, Alistair Crowley’s joker intelligence code – attempts to elaborately spin a ridiculous yarn concerning a car bombing which was alleged to have been carried out by a terrorist, a terrorist he claims to have later spoken with. This narrative represents a gross prevarication undoubtedly created by CIA’s intelligence handlers then delivered by “Mudd” while on air with a theatrical flourish of intense but feigned emotional hysteria. Furthermore, this dubious tale detailing an act of alleged “terrorism” was likely thoroughly concocted to not only bolster in the minds of the targeted audience demographics the utility and continued necessity for CIA and FBI’s domestic and global surveillance efforts to combat “terrorism” and to keep the general public “safe” from “terrorists”, but to justify further tax expenditures beneficial to annual budgetary expansions. Upon viewing the video posted immediately above several more times, it also becomes apparent through detailed ocular analysis that certain portions of the facial geometry belonging to “Phil Mudd” have been strategically modified with CGI layering/animation during CNN’s post-production phase.
What “Mudd” fails to reveal, however, is that the American general public are the genuine target of these alphabet lettered agency’s vast surveillance dragnet and are therefore regarded as potential “terrorists”.
As shall be further detailed later on, the confirmed identity of the Hollywood actor in portrayal of CIA/FBI counterterrorism official “Phillip Mudd” confirms several salient points.
One – that high profile Hollywood actors/celebrities are also well-trained intelligence assets and agents who are regularly contracted to perform under pseudonyms in the guise of high-profile government officials to influence public opinion and perception and, through the effectiveness of demonstrative behaviors exhibited during scripted public performances, to elicit desired emotional responses in their targeted audiences, to justify greater tax expenditures allocated towards alphabet lettered US corporate government agencies acting under the aegis of and in concert with the Jesuit-controlled US military/industrial/Hollywood entertainment complex.
Two – in the case of former counterterrorism CIA/FBI official and MSM commentator “Phillip Mudd”, it becomes apparent his positive identification as a media-generated fabricated character scheme, portrayed by a strategically modified Hollywood actor, Michael J. Fox (666), legitimizes the premise that both CIA and FBI have historically utilized such modified character schemes for the purposes of plausible deniability regarding their various taxpayer funded psychological operations and, three, by virtue of placing such modified characters acting under pseudonyms who cannot be legally prosecuted in any court operating under Admiralty (AKA Roman/Maritime) Law before the public’s eye as “official” spokespersons, they are provided with an impenetrable shield against the possibility of legal scrutiny or worse, criminal prosecution.
But, given that “Alejandro Mayorkas”, the current chief of US Homeland Security, has also been identified as a fabricated character scheme, portrayed by another famous Hollywood actor – more on this will be revealed in another article, coming soon – there arrives an additional, and perhaps even more sinister, hypothetical premise to consider.
Namely, that the office of Homeland Security exists merely as a brass plated front or proxy for Jesuit-controlled CIA, created as a US corporate government funded bank depository from which CIA can clandestinely but legally funnel, in the way of double dipping, more tax dollars into its already bulging coffers both to sufficiently fund and to dramatically expand its domestic and globally connected surveillance and psychological operations.
Emotional hysteria is never conducive to dispassionate objectivity, which is necessary for capable, penetrative analysis of world events. While broadcasting images of what appears to be a war-ravaged Gaza and delivering ham-fisted propaganda disguised as “news”, the MSM knows this all-too-well. Held in the grip of television’s beguiling spell, blinded by ideological extremes, a majority of the targeted population becomes incapable of observing they’ve been thoroughly manipulated into warring with each other. But such skillful con artists have always repetitively utilized the power of suggestion, accompanied by neurolinguistic programming, stage managed images, and scripted messaging broadcasted through electronic mediums, to peddle outrageous lies as absolute truth.
For the past several decades, since the post-WWII period, such blatant but nevertheless skillful con artists have managed to persuade Western audiences, specifically American ones, selling them on the idea there is a bloody and protracted war ongoing in the Middle East.
More recently, social media outlets – specifically, that digitally platformed abomination known as TikTok, targeted at demographics consisting of the cerebrally stunted, the emotionally juvenile, and those prone to gullibility – have developed into the MSM con artist’s invaluable primary weapons of psychological warfare, trusty handmaidens with which to market their egregious war propaganda.
Repeatedly, both Americans and the world-at-large, have been told the State of Israel and the State of Palestine are opposing factions involved in bloody armed conflict.
But what if both sides were discovered to be in on the ruse, covertly cooperating in the execution of a grand confidence game which, for decades, overseen, managed by the United Nations, has been theatrically staged for ulterior motives?
In fact, upon further investigation, a former leader of the Palestine Liberation Organization – “Yassar Arafat” – has been identified as a fabricated character scheme portrayed by one of popular music’s most legendary and iconic personalities.
Even the most transparent masquerades can remain effective. But oftentimes – especially when put under greater and even microscopic scrutiny – not for very long. During the course of an ongoing investigation into politician, lawyer, former IMF directing manager and now European Central Bank president Christine LeGarde, one remained suspicious that not only did her French accent indicate a theatrical affectation, but that certain of her habitual mannerisms appeared familiar indeed.
Below: Christine LeGarde, Hollywood and television actress Allison Janney
It also became clear, while observing her perform during various interviews, that LeGarde’s responses were heavily laden with propagandistic buzzwords and scripted talking points, and therefore considered to be substantively deficient, leading one to conclude that something was amiss, and that one was watching an actor in the midst of a theatrical performance, a media-generated personality rather than a highly educated economist and competent executive.
Turns out, the “official” biographies of “Christine LeGarde” are complete fabrications and that she too is a fabricated character scheme placed in highly visible and prominent positions of influence – IMF managing director, presidency of European Central Bank – to promote the transformation of the global economy with the establishment of a central bank digital currency and to spout propaganda relating to the implementation of the UN’s Agenda 2030/2050 and its seventeen “sustainability goals”.
