Hollywood Stallion Stallone Not Sly Enough?

Investigations into the mysteries of the actor based reality continue to offer shocking revelations. When it comes to considering the genuine ramifications of the “reality” a majority have been conditioned to except, there exist no heroes or saviors, there are only imposters, fraudulent idols and false messiahs.

Indeed, the deceptions of politics, the entertainment industry, and in every field of human endeavor run unfathomably deep.

The renowned Hollywood actor popularly known as Sylvester Stallone is not who the general public thinks he is.

In fact, he too, is a character portrayed by a host actor, the son of Hollywood’s most powerful and influential mogul, someone to whom even the LAPD have affixed the label of “legally untouchable.”

Many of the author’s loyal readers – after it has been revealed – shall no doubt immediately recognize the name of Stallone’s host actor, for it is a name that has figured prominently in previous installments.

Incredibly, Stallone’s host actor also has ties to the Charles Manson Hollywood counter-culture serial killer hoax.

As many know by now, however, nothing or no one is either sacred or untouchable here at Newsspell.

The global media/entertainment complex, owned and operated by the thirteen ruling elite families, is nothing more than an instrument of modern sorcery, a magic wand utilized to both shape and control the perceptions of the masses. Wielding this instrument expertly, the ruling elites have managed to sell, through whatever psychological manipulation necessary, the most monstrous lies, which are fortified and bolstered by nothing other than the power of suggestion, and delivered from the pulpit of perceived “authority”.

Though some of those visiting Newsspell for the first time may fail to grasp or dismiss altogether the grand implications of the sinister phenomenon known as the actor based reality, those are the very same who have fallen prey to its covert manipulations, the very same who, without question or regard for penetrative analysis, innocently subscribe to what they’ve been conditioned or “educated” to believe, promulgated by “experts” or those bestowed with so-called esteemed “titles”.

Those are the very same who also fail to comprehend, the actor based reality is an instrumental and integral component of the deceptive sorcerer’s grand magic trick. Those numbered among the aforementioned, will undoubtedly dismiss even the slightest suggestion that the award-winning actor known and beloved by millions as Sylvester Stallone – dual-purposed propaganda vehicle and fabricated image made into flesh – is nothing more than a multi-dimensional idea brought forth by such sorcerers into perceivable material reality for the purpose of deriving gross profits from the public’s insatiably consumptive appetites.

One has acquired the general sense, however, that a significant portion of the American population are, just now, perhaps becoming more aware of those psychological manipulations that have plagued them. Nevertheless, for those who remain in denial of these sinister machinations, such cognitive dissonance is primarily responsible for what has been termed by psychologists and scholarly anthropologists as the “post-modern malaise”.

This is the euphemism that nonetheless accurately describes the very condition experienced by a majority of the masses in the West, who despite being faced with the terrifying realization all is not truly well, must go on attempting to pretend as if the  psychological albatross which metaphorically burdens them does not exist.

For them, the psychological torment of facing the enormity of what they intuitively feel or perhaps even subconsciously acknowledge – but have yet acquired the vocabulary to accurately articulate – remains an insurmountable and perhaps even inconceivable burden, a fear so great, that to even conceive of addressing such malaise with a voice pitched above so much as a whisper, may leave them feeling permanently abandoned, without friends, family, personal identity or social agency, which to such persons, is no doubt a fate perhaps worse than being tossed to drown amid a boundless ocean of death’s dissolute darkness, without safety, comfort, direction or guiding compass.

Such individuals will never willfully choose to accept they’ve been duped for their entire lives, chiefly due to the fact such psychological crutches as ego, self-identity, and emotional investiture won’t allow it.

Rather than face truths such as the fact the newly announced democratic candidate for the 2020 presidency is a Hollywood actor (Annette Benning) married to an award-winning actor (Warren Beatty/”Warren” – get it folks?) who once portrayed former US president, Richard “Tricky Dick” Nixon, the acute affliction of cognitive dissonance plaguing them will only allow the perpetual and puerile state of psychological denial to persist.

Annette Benning:



If one listens closely and is able to perform an objective comparison voice analysis, one is readily able to determine the voice characteristics of Warren’s host actor, Benning, have not been even slightly modified. And yet, how many are there still, who will dismiss such objective analysis and fail to accept the truth?

Neither, will such unfortunate souls ever except that the process of “democratic” voting merely represents an exercise in social and political pantomime. For, even while witnessing a former Federal Reserve Chairman inform the public of the unvarnished truth on a nationally broadcast television network, that the policies of the Federal Reserve or its chairman are not subject to presidential edict or executive order, but is one branch of an international cartel of banks existing under the auspices of the Swiss Templars and the Crown Temple in the City of London’s one square mile, they will still scoff, quibble, and deny.


Stallone’s biographies sell yet another unlikely version of the working class upstart who rises to Hollywood spangled glory. Mainstream biographical accounts also unanimously claim Stallone’s first attempt at a screenplay was adapted into a Hollywood blockbuster.

From such glowing but faux biographical impressions, we are led to believe a complete unknown was allowed to waltz into the offices of some of Tinsel Town’s most powerful film executives to further incite a virtual million dollar bidding war to produce the film that would not only go on to get nominated for 1977’s best screenplay, but allowed Stallone – a neophyte actor with no experience on a blockbuster producing film set – to be nominated by the academy of arts and sciences for that year’s best actor.

Now folks, things simply don’t work like this in Hollywood or for any other commercial aspect of the professional entertainment industry.

The chance of such an occurrence is indeed long and likely improbable, equivalent to the idea Vegas bookies would deign to place favorite odds on a one-legged and lame mare to win the triple crown.

In truth, there are scores of screen writers in Hollywood, both in television and film, many of whom, though well-respected, have never seen their work on the big screen in a runaway blockbuster, much less with a screen adaptation solely derived from their maiden creative efforts. Screenplays, especially those with stories well-coveted and written by those with solid track records, are worth big money in Hollywood, and the buying and selling of their contractual rights represents a lucrative cottage industry on its own.

The scenario involving Stallone is unlikely, simply because as a neophyte in the 1970’s, he wouldn’t have possessed a track record of success and thus, he wouldn’t have possessed any significant influential contacts or the requisite leverage with which to successfully negotiate Hollywood’s studio brass into bringing his creative efforts into the larger scope of such widespread circulation and interest, and with such alacrity.

It is far more likely – without significant representation from an experienced legal firm specializing in entertainment industry contractual negotiations or an experienced Hollywood agent with knowledge about how the client could sell his work and still retain his invaluable financial rights – if Stallone’s work had evinced any interest at all, he would have been forced to sign away all of his rights to the screenplay just for the privilege of being read by top directors, producers, and studio brass before it may have even been considered suitable for production into a blockbuster film worthy of major nationwide distribution.

But it turns out this is all moot, because contrary to his dramatic biographical tales, “Sylvester Stallone” was not a desperate Hollywood neophyte who pounded the Hollywood pavement and knocked from door-to-door.

In fact, as shall soon be revealed, Stallone’s ability to get his screenplay (most likely ghostwritten by seasoned writers/developers) developed into a blockbuster film – the first of which went on to garner profitable millions and was later developed into the multi-billion dollar “Rocky” franchise – and his persuasiveness in convincing Hollywood brass to allow him to portray the major role in his maiden film, was due not so much to inherit talent, perseverance or diligence, but nepotism.

That’s right folks, although his biographies will attempt to convince the general public of the myth Stallone was a desperate and down-and-out artist schlepping his screenplay around Hollywood in the late 1970’s, he didn’t have to.

In truth, “Sylvester Stallone” was and is a fabricated and mythical character whose host actor was born into a powerful and prominent family with genealogical ties to Western European royalty and nobility, a family who already owned majority share in the Hollywood entertainment and film industries.

Not unexpectedly therefore, a plethora of numerological markers and masonic symbolism appears to inundate Sylvester “the Italian Stallion” Stallone’s official biographies.

Before he became a mainstream and bankable Hollywood icon, known as Sylvester Stallone (sums to 13 in English Ordinal/summit of masonic pyramid/194 in Reverse Ordinal/5=2 3’s/33/high-degree Scottish Rite Freemasonry/195 Full Reduction/5/33), and starred as “Rambo” (13/86&32=33) and “Rocky Balboa” (72/2 7’s/Lucifer’s lightning/angelic transformation/Reverse Ordinal Sum=63/3 6’s=666/9/6 occult mirrored reversal=33), it is claimed Michael Sylvester Gardenzio Stallone was born into abject urban poverty in New York’s Hell’s Kitchen (34th street/7 Kabbalah Zayin/mind weapon/59th street/14/angelic transformation/8th Avenue/44=destruction code), which is also known as Clinton (33).

Officially, Stallone, the Hollywood icon, was born on July 6, 1946 (777/intelligence joker code/33) to Frank Stallone Senior, a hairdresser and beautician, and Jaqueline “Jackie” (Jackie/Jack/The Joker) Stallone, an astrologer (clue to the occult magic bringing a fabricated character to life), dancer (dancer/strip clubs?), and promoter of women’s wrestling.

Notice the occupations of Stallone’s alleged parents, folks – specifically Frank Senior?

Where have we observed the occupations of “hairdresser, “beautician” or professional barber detailed before in conjunction with intelligence and or psychological operations of historical significance? (See: Actors in history’s grand stage play (Part VII)

This represents a colossal clue, as to not only the positive identification of Stallone’s host actor, but a clear indication that underscores and connects the webbed nexus of intelligence’s fabricated characters and the operations in which the portraying and participating actors have previously and prominently figured.


Next, we are informed Stallone’s father was born in Giola del Colle, while his American mother, claimed to be of French origin from the region of Brittany, was born to a family belonging to Ukrainian-Jewish (from Odessa) descent. First, Giola del Colle is a town and commune of the Metropolitan City of Bari, Apulia, located in southern Italy (English Ordinal sum=67/13 and Reverse Full Reduction=32/2 3’s=33).

The town is situated on the Murge plateau at 360 meters above sea level (3 6’s=666). According to scholars, the earliest known human settlements date back to the 7th century (7/Kabbalah Zayin the mind weapon). Scholars further claim the town grew further in the 12th century (777), during the time of the Norman Count Richard of Hauteville, who built a fortress and castle.

In the 13th century (13=summit of masonic pyramid) however, the medieval fief fell under the rule of Duke Frederick of Swabia, who it is claimed then rebuilt the castle fortress. Historically, Frederick has been referred to as “the One-Eyed”. This is an occult reference to the sun which gives birth to the light of Lucifer. The sun, and the light thereof, represent the secretive but synonymous creeds of the Freemason, Jesuit, and Templar orders.

Swabia or the Austro-German Duchy of Swabia is a region that has figured prominently before in one’s research into the actor based reality, and also serves as yet another colossal clue as to the identity of not only the Hollywood family of Stallone’s host actor, but the identity of the family patriarch who is one of Hollywood’s most powerful moguls, and has also portrayed various modified characters that have appeared in the annals of American history and figured prominently in the history of Western popular culture.

See: (Actors in history’s grand stage play (Part III)

Historically speaking, the region of Brittany, a cultural region in the northwest of France, was a hot bed of Jesuit missionaries during both the 16th and 17th centuries (https://brill.com/view/journals/jjs/2/4/article-p659_7.xml).

During its history of Roman occupation, the western part of the region of Brittany or Gaul, between the rivers Seine and Loire, was known as Armorica (English Ordinal sum=78/6/33/Full Reduction=42/6/33/Reverse Full Reduction=57/12/21/777/3/EE=33).

Prior to the 16th century, Brittany was known as an independent kingdom, and then a duchy before finally being united with the Kingdom of France in 1532, but even then, only as a separate province governed under the crown.


According to a consensus between mainstream sources and Wikipedia, Stallone was only the third (33) individual, along with Charlie Chaplin and Orson Welles, to be nominated for two awards by the Academy of Arts and Sciences for the same film. Loyal readers are well-acquainted with Orson Welles and his genealogical ties to European royalty and nobility, as well the various public characters he has portrayed (See: Howard Hughes: Man of mystery revealed (part I).

As for Charlie Chaplin, his hidden grandson, the son of the late comedian Jerry Lewis, portrayed the host actor behind the character dubbed the “Voice of a Generation” before going on to portray legendary Hollywood filmmaker George Lucas, and the lead guitarist of one of popular music’s most successful acts, the Eagles (See:George Lucas And His Death Star Deception). 

Considering the character of Sylvester Stallone is among such lofty company, it is fair to assume that rather than rising up from the dregs of the working class, Stallone may share the same exclusive Hollywood pedigree as that of Chaplin and Welles.

Though many are more than familiar with Stallone’s rags to riches tale subsequent to his screenplay and Oscar nominated triumph with the film that began the lucrative “Rocky” film franchise, they may not be aware of the more obscure points of Stallone’s acting and directing career and his artistic pursuits prior to his arrival in Hollywood during the 1970’s. For a time, Stallone was in Templar dominated Switzerland, where he was hired to play a scene in the sports drama, Downhill Racer, which also starred Academy-Award winner, Robert Redford. But Stallone’s first major film role prior to starring as the underdog boxer Rocky Balboa, though inauspicious, came at a time in the early 1970’s when he was reportedly evicted from his New York apartment and found himself out on the streets of New York for several days.

The consensus among official biographers regarding this period of Stallone’s life reports that Stallone accepted the role in the “Party at Kiddy and Stud’s” in 1970 – a film later characterized in scathing critical reviews as “soft core pornography” and for which Stallone was paid 200 dollars for 2 days work (44 destruction code/masonic pillars of Boaz and Jachin) – out of desperation when he found himself seeking shelter for three days (EE=33) in New York’s Port Authority Bus Terminal.

In Stallone’s own words, he characterized this time of tragic desperation as “being at the very end – of my rope,” he claimed (masonic hang man symbolism). “It was either do that movie or rob someone.”

From that truly inauspicious, and unlikely career beginning, it was to be a mere seven years later that Stallone would ride the triumphant wave of both critical and popular acclaim of “Rocky” right to the red carpet of the Academy Awards. After Stallone’s heralded Academy triumph, the “soft core pornography” film for which out of desperation he agreed to star in 1970, was retitled “Italian Stallion” to capitalize on his newly acquired notoriety, and newfound box office cache.

Such after all, as they say, is the nature of supply and demand, providing Stallone with a Hollywood cognomen that, for better or ill, seemed to thereafter stick.


Loyal readers have become familiar with the various methods utilized to disguise a host actor’s identity when remaining “in character” during the portrayal of a fabricated public role, but it seems that in the case of the man renowned for portraying Rambo and Rocky on the silver screen, the creators of “Sylvester Stallone” went the proverbial extra mile.

The following is an excerpt from Wikipedia:

“Complications suffered by Stallone’s mother during labor forced her obstetricians to use two pairs of forceps (2=masonic pillars of Boaz and Jachin) during his {Stallone’s} birth; misuse of these forceps accidently severed a nerve and caused paralysis in parts of Stallone’s face. As a result, the lower left side of his face is paralyzed (including parts of the lip, tongue and chin), an accident which gave him his signature snarling look and slurred speech.”

Yes folks, Stallone’s Hollywood masters created a distinguishing “look” that they were certain would not only bolster his woeful and working class backstory, but would help further induce the emotional investment of the character’s prospective and adoring public.

Little does that adoring public realize, however, that for decades they’ve been duped.

The positive results of ear biometric and facial recognition analysis and examination clearly indicate “Sylvester Stallone” is in fact, a fabricated Hollywood persona portrayed by a host actor, an actor who is the prominent son of an even more prominent and influential Hollywood mogul with genealogical ties to an ancient royal and noble European bloodline, the Swabian/Austro-German House of von Furstenberg.

David Geffen:




Sylvester Stallone:




It was pointed out in a very recent installment, that Hollywood mogul, David Geffen, served as the main host actor for the fabricated character of Hollywood counter-culture and serial killing boogeyman, Charles Manson (remove the ‘N’ and you’ve got MASON). Further facial recognition confirms that indeed, Geffen was the first to portray good old “Charlie” who as it turns out, is about as scary as Sesame Street’s Cookie Monster.

Confirmation of “Sylvester Stallone” AKA David Geffen/Charles Manson/Sonny Bono, son of Austro-German Prince Eduard von Furstenberg AKA Hollywood mogul Barry Diller as a fabricated Hollywood character, came with the positive identification of his former spouse, “Brigitte Nielsen”.

Extensive ear biometric examination verified by facial recognition analysis has in fact confirmed that Nielsen’s host actor was none other than Geffen’s own daughter, Chastity Bono AKA former 1980’s “Brat Pack” actress, Molly Ringwald.

Brigitte Nielsen:



Molly Ringwald:












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