Oftentimes, government sponsored propaganda appears in two distinct forms. On the one hand, its dissemination can be soft, subtle, its genuine nature difficult to discern or to detect while on the other, when delivered clumsily by an overly earnest and heavy-handed messenger, it can possess all the subtlety of a cacophonous chainsaw cutting through one’s backyard rose garden.
Considering the recent media hoopla surrounding NASA’s Artemis II, when observed more closely, analyzed with a greater degree of criticality, while utilizing the occult-derived phallic symbolism of a massively sized rocket to lift off a none too subtle, transparent but well-financed DEI (Diversity, Equity, and Inclusion) propaganda campaign, the storied agency’s latest efforts in ‘space exploration’ clearly fall into the latter classification.
When judged on a broader basis, on this particular occasion, in comparison to the overall effectiveness of its insufferable propaganda messaging, NASA’s attempts at accurately depicting its simulated exploratory space mission appeared rather underwhelming, crudely ill-conceived, and perhaps even pathetically embarrassing.
More significantly, such a shoddy, amateurish presentation appears to have been deliberately engineered.
Apparently, it seems that these days, NASA appears all-too-content in targeting an audience demographic consisting entirely of children and young adults possessing a child-like mentality, those who are easily impressed or most susceptible to being utterly deceived by reams of pseudo-scientific mumbo jumbo regurgitated from the vile mouths of professional liars.
Contrary to the cheerleading consensus celebrated by the MSM, NASA’s latest ‘moon mission’ amounted to a grand illusion constructed from mere smoke and shining mirrors, a colorful circus full of bellowing sound and empty fury, signifying absolutely nothing other than the launching of a multi-billion-dollar propaganda machine.
NASA’S COUNTERINTELLIGENCE
While what follows will no doubt arouse a storm of indignation and vicious attacks drawn from quivers filled with poison tipped arrows, so be it. After all, improbable beliefs can only hold out for so long against well-reasoned investigative scrutiny. It appears that well in advance of its Artemis II launch, NASA had emplaced some well-planned counterintelligence – the gondola spirited away from the rocket’s gantry at launch time, the odd chroma keyed letters superimposed upon the surface of a child’s toy seen floating aboard the Orion space capsule, the inexplicable edit cuts, color gradience glitches observed during the “live” splashdown footage shot with less than stellar resolution quality – into the visual presentation of its simulated space mission for the express purpose of deliberately entrapping the agency’s growing legions of suspicious detractors numbered among the American general public.
To one’s vexation and to the expectantly gleeful surprise of NASA, many of those among the so-called ‘alternative’ media seem to have hastily taken the bait and foolishly fallen prey to these blatant examples of distractive, deliberately placed counterintelligence traps, a species of red herring which were designed, created to be easily explained away and ultimately debunked.
However, none of these foolish shenanigans perpetrated by NASA can possibly serve to distract from the fact that the space agency, a glorified Hollywood-styled movie production studio and money laundering organization operating under the United States Department of Defense, has employed legions of professional animators and image and film creation specialists, nor can they distract one’s attention from the obvious design flaws of Orion, Artemis II’s reusable crew module capsule built by Lockheed Martin, flaws which fail to address the problem of incapably protecting a manned space mission from the lethal onslaught of solar flares, solar winds, meteorites, asteroids, and the dangers of navigating the radiation ridden Van Allen belts.
That NASA officials and those designated as the agency’s spokespersons chose to altogether ignore penetrating inquiries into these acute issues prior to the launch of Artemis II was quite telling. In lieu of choosing to address such pertinently outstanding issues, NASA instead decided to focus their efforts on promoting and trumpeting the ‘diverse’ nature of Artemis II’s astronautical crew, which included a woman and a person-of-color.
Shortly, there will be more revealed concerning what was discovered through further investigation into the former Artemis II crewperson, Christina Koch, who, as it turns out, has a slew of suspicious aliases.
In fact, as was the case with Apollo 11’s “Buzz Aldrin” (aka Kirk Douglas/Paul Newman), “Christina” has proved to be a heavily modified character scheme portrayed by a Hollywood actress.
FLAWED BY DESIGN
According to design specifications for the Orion crew module utilized for Artemis II’s mission which have been graphically demonstrated at Wikipedia, the construction of the space capsule consists of an aluminum-lithium metal alloy which also contains copper and zirconium. From the standpoint of atomic structure, the elements making up this alloy are light in comparative contrast to titanium and other similar heavy metals appearing to be more suitable for the construction of such a craft designed to function in the uninhabitable environment of outer or deep space. The capsule has also been thermally treated with AVCOAT, the same ablative heat shielding material used for the Apollo missions as well as the now defunct shuttle program. This piece of information provided by Wikipedia contradicts NASA’s prior claim(s) – in specific reference to the comments of former NASA ‘astronaut’ Don Petit – that the blueprints for the technology used in the Apollo program which were drawn up back in the 1960’s were subsequently lost or destroyed.
It follows then, in stark contradiction to NASA’s previous claims, that the technology and raw materials used to build the Artemis rockets do not in any respect represent newly improved technological advancements. Rather than advancing in terms of technological innovation, the only advancement NASA has managed to accomplish is in altering the public’s perception with a newly improved marketing, promotion campaign wrapped in a shinier and more colorful package.
In the final analysis, while primarily utilized for the purpose of weight advantage(s), the light atomic structure of an aluminum-lithium alloy would have surely been quite insufficient in thoroughly protecting the crew module’s inhabitants as they twice navigated the perilous dangers of the Van Allen belt during Artemis II’s mission to and from around the moon. Undoubtedly, it doesn’t take a PhD level scientist to deduce that such insufficient design specifications, including windows, would have resulted in rather debilitating and or fatal physiological effects upon NASA’s crew as they navigated the hazards of zero gravity space while subjected to intolerable conditions tantamount to that of a roasting convection oven.
NASA’S DEI PROPAGANDA
Given its documented commitment to promoting Marxist inspired philosophical tenets such as Diversity, Equity, and Inclusion, women’s empowerment, and gender equality, the latter of which is prominently featured in sustainability goal number five of the UN’s Agenda 2030/2050, it could be so argued that NASA’s “space missions” add up to nothing more than social impact entertainment vehicles carrying propaganda messaging in the narrative form of dramatic human interest oriented storytelling.
SEE: https://sdgresources.relx.com/diversity-and-inclusion
In another sense, from an occult perspective, NASA’s series of rocket launches over the decades have been nothing more than theatrical live-action role plays incorporating masonic ritual symbolism rather than missions undertaken for the ostensible purpose of pure scientific and astronomical inquiry.
In 2022, prior to the launch of its Artemis program, NASA published a multi-page document outlining its commitment to promoting DEIA (Diversity, Equity, Inclusion, and Accesabillity) among its work force and management personnel. The document, available in pdf form online, meticulously outlines NASA’s public relations efforts to transform their astronauts into living symbols of social justice and the agency’s space program into a grandly scaled propaganda apparatus.
The philosophy underlying DEI is fundamentally Marxist; a sociopolitical system derived from classically trained scholars associated with the Jesuitical Society of Jesus. Not only do several articles published online, the corresponding links to which are listed below, confirm this originating connection between the Jesuits and DEI but further confirmation of this nexus is provided by the fact that the U.S. Department of Defense, under which NASA’s agency operates as a subsidiary, is controlled from Vatican City by the Society of Jesus’s Superior General. Vatican City is a front for the Swiss banking consortium, the parent corporation under which is umbrellaed not only Crown Temple in City of London but the Federal Reserve, a private banking subsidiary which prints and loans debt-based currency to the United States corporation at exorbitant and ever-increasing interest rates upon a ballooning and ultimately debilitating financial principal which will never be paid back.
SEE: https://sjuhawknews.com/36672/opinions/jesuit-mission-dei-empathy-compassion/
https://jesuitschoolsnetwork.org/wp-content/uploads/2024/07/DEIB-Framework.pdf
Creating lasting change in the Diversity, Equity, and Inclusion department
In the wake of the Artemis II mission, there has been a not so coincidental resurgence of UFO related stories released by the MSM augmented by manufactured photoshopped images of “black holes” in space. All of this is pure rubbish, of course, but there can be no doubt this represents an expansion of considerable efforts to further psychologically condition the public into accepting the existence of “extraterrestrials”, not only in relation to the moon but to Mars.
Now one shall address the subject of Artemis II ‘astronaut’ “Christina Koch”, who has been posed as NASA’s chief DEI poster model.
ASTRONAUT OR HOLLYWOOD ACTRESS?
Preliminary background checks performed online in relation to NASA ‘astronaut’ Christina Koch revealed that she possesses several aliases as well as holding the inexplicable job description of “Service Occupations”.
SEE: https://radaris.com/Christina-Koch/1307565373
According to the link posted directly above, Christina Koch, 47 years old, also known as Christina Hammock Koch, Christina Marie Hammock, Christina M. Hammock, Christina M. Boyd, Tina Hammock, Christina K., and Chris Nelson, is listed as a “Service Occupations” employee and a current resident of Galveston, Texas, formerly of Annapolis, Maryland. In addition to the number of suspicious aliases, even more suspicious is that there are no occupational or professional links to NASA to be found in connection to Christina Koch. Under the listing for Chris Nelson, in relation to one of Koch’s known aliases, one finds a residence located in Santa Monica, California. The Hollywood actress identified in portrayal of Koch also resides in California. The surname of Nelson synonomously links to former NASA chief administrator Bill Nelson, the former U.S. senator from Florida and former NASA ‘astronaut’ who was exposed as a fabricated character scheme portrayed by the same host acting live-action role player – Hollywood actor/singer Pat Boone – behind the masks of 1960’s counterculture LSD guru and Alistair Crowley acolyte Timothy Leary, Playboy magazine founder Hugh Hefner, Hollywood/television actor/vaudevillian Al Lewis, and Scientology kingpin L. Ron Hubbard.
SEE: Florida’s Playboy Senator & Impostor Governor
L. Ron Hubbard’s Mortifying Munster Mash
After discovering an article which was published online – SEE: https://www.eonline.com/news/1430672/jessica-alba-on-christina-koch-asking-for-honest-products-in-space – during the Artemis II mission, the direction of one’s investigation became truly interesting. Though the narrative crux of this discovered article, like everything else associated with NASA’s Artemis II, appeared nonsensical, nevertheless, the implied connection between Hollywood actress Jessica Alba and NASA ‘astronaut’ ‘Christina Koch’ seemed intriguing, perhaps an indication of a significant clue.
Jessica Alba is the co-founder of Honest Company, specializing in the production of beauty related products for women.
“Honest Company products are officially out of this world,” gushes the article at eonline.com in a fit of hysteria. “The company’s co-founder {Alba} had the best reaction after Artemis II astronaut Christina Koch requested the brand’s hand cream be included in a care package during the space mission.”
Did she indeed?
Are we being led to believe that while facing the extreme challenges of a dangerous space mission around the moon and with her life hanging in the balance, Kristina Koch’s priorities were suddenly shifted towards acquiring a chic brand of Hollywood celebrity beauty creme? To describe this story as preposterous or perhaps better to say beyond absurd would be putting it kindly.
Further investigation into Alba’s Honest Company revealed that one of its initial investors, Lightspeed Venture Partners, is located in Menlo Park, California, the same location where Google, Meta (formerly Facebook), Roblox Corporation, a video game manufacturer/developer, and SRI (Stanford Research Institute) were founded. Stanford Research Institute is dialed in with Tavistock’s Institute of Human Relations (aka the lie factory) and was behind the publishing of Changing Images of Man, inspired by the work of intellectual luminaries such as Carl Jung and Joseph Campbell, a tome which is not only similar in tone and in content to Zbigniew Brezinski’s Between Two Ages, but manages to even more alarmingly outline the paradigm changing emergence of humanity into a technocratic, dystopian age. As if the preceding bits of information weren’t revealing enough, the results derived from comparative image, facial recognition, and ear biometric analysis between Hollywood actress Jessica Alba and NASA ‘astronaut’ “Christina Koch” proved to be equally stunning.
GOING FURTHER NOWWHERE THAN ANY ASTRONAUT HAS GONE BEFORE
In previously published articles, one exposed the trio of Apollo 11 astronauts as character schemes, including Buzz Aldrin, who was portrayed by Hollywood actor Kirk Douglas (aka Paul Newman)
Below from L to R: Kirk Douglas, Paul Newman, Buzz Aldrin
To this day, NASA is still casting Hollywood actors to portray ‘astronauts’ in live-action roles. In the case of NASA’s Artemis II mission, comparative image, facial recognition, and ear biometric analysis between Hollywood actress Jessica Alba and “Christina Koch” confirms this. The first set of images posted below features Christina Koch attending NASA’s space camp during the 1990’s and Jessica Alba as a newly arrived young Hollywood actress during the same time period. Notice the unique but identical epidermal structures – arrowed and encircled by red marker – of the respective ear lobes. The following sets of images not only demonstrate that the respective eyes, noses, nostrils, jawlines, lips, and chins are identically structured, proportioned but that the epidermal shapes, structures of the ears are also identical. Closer examination through increased magnification of the inner portions of the respective ears not only helps to more conspicuously illuminate, highlight some of the identically shaped epidermal structures but also demonstrates that both Alba, Koch have an identically placed epidermal landmark in common, appearing in the form of a freckle or a similarly described epidermal blemish inside the inner portions of the respective ears. Wikipedia reports that Alba’s father was a career Air Force officer and that she identified as a feminist at age five – the perfectly preferred profile required for central character casting as a NASA ‘astronaut’ in a space exploration film simulation and a dedicated DEI propagandist.
Below from L to R: Christina Koch, Jessica Alba
Lately, one couldn’t help but notice that mention of the flat earth subject popped up in the comments section. In which case, be advised that both facial recognition and teeth analysis confirm that You Tube flat earth guru “Eric Dubay” is a fabricated character scheme portrayed by Prince Andrea Casiraghi of Monaco. The flat earth agenda was created as a divisive psychological operation, designed to demarcate warring camps among the “alternative” media. This agenda has also been weaponized by state sponsored community-based operators, informants to entrap and to ultimately discredit genuine researchers, investigators – a form of guilt by association. Whether the shape of the earth is believed to be flat, round, pear shaped, or even octagonal, this issue is ultimately rendered irrelevant due to the fact that the same royal families who’ve consolidated the earth’s territories into a monopoly consisting of commercially exploitive markets and who aren’t surrendering their ownership hegemony anytime soon remain intent on bleeding the rest of humanity economically dry then significantly reducing their numbers.
As for Monaco’s royal family, they have presided over Las Vegas’s gambling/gaming empire for decades, an empire which is also connected to the NFL and to the entire complex of professional sports/media entertainment. The connective scope of the organized, syndicated criminal racket known as Post-Modern Reality Simulation is all-pervasive and stretches far and wide, involving not just NASA but Hollywood’s entertainment industries, royal families, and the U.S. corporate government. Prince Andrea’s royal brother, Pierre, is the face behind the mask of ABC MSM news anchor David Muir while his spouse, Princess Borromeo, portrays U.S. congressperson Alexandria Ocasio Cortez and Meghan Markle. Andrea’s “late” father, Prince Stefano, the son of Hollywood actress Grace Kelly and Prince Rainier (aka Fidel Castro), has been modified into disgraced NBC newsman Brian Williams (aka Joe Biden/George W. Bush) and Hollywood actor Martin Sheen (aka Donald J. Trump).
SEE: Trumping the MSM’s Assassination Lies
Below from L to R: Andrea Casiraghi, Eric Dubay
