In what would appear to be an unprecedented political maneuver, the governor of Ohio, Mike DeWine, has made an offer of one million dollars – along with free college tuition and other commercially-oriented perquisites – to incentivize Ohioans, especially those perceived to harbor what has been termed “vaccine hesitancy”, into willingly accepting the “coronavirus vaccine”.
One supposes, DeWine – or, rather, his masters belonging to the highest echelons of the Society of Jesus, the Jesuit order – is counting on the fact the residents of Ohio are too obtuse to have figured out that, according to page 1051 of the AMA (American Medical Association) Encyclopedia (1989 edition), the term “coronavirus” is synonymous with what was formerly known as the common cold or flu.
Indeed, Don Corleone, the fictional but ruthless mob boss of Hollywood’s ‘the Godfather’, would be proud to learn of DeWine’s clever strategy in offering the citizens of his state what was, no doubt beforehand, perceived as ‘an offer they can’t refuse’.
From all that we have learned, thus far, about the genuine motivations behind the Jesuit-executed Covid-19 psychological operation, DeWine’s proposal smacks of an exercise in cynicism, if not utter desperation.
Turns out, too, however, like Don Corleone, “Mike DeWine”, the reigning governor of Ohio, exists as a fictional character, a fabricated character scheme portrayed by a Hollywood actor.
Everyone should look very closely at the image posted below.
Has everyone seen this guy somewhere before?
Does he, at all, appear familiar?
To everyone, especially those who spent their formative years during the era of the 1980’s, the Governor of Ohio, known to the American public as “Mike DeWine”, should, indeed, appear familiar.
Immediately below, everyone shall observe a video excerpt from a popular movie of the 1980’s.
Somebody, though, should speak up and tell the high school teacher, featured in the following video clip, taking classroom role call that the location of “Bueller” has been discovered.
The Hollywood actor who was once cast in the role of “Bueller” has now been busted, caught out as the host actor (live-action role player) in portrayal of Ohio Governor “Mike DeWine”.
Organized religion – it has often been said – is the opiate of the masses.
Here, in America, the predominant religion of the masses has become professional sports entertainment or, as it was known during the era of imperial Rome, “Bread and Circuses.”
As is well-known, every religious cult has an underlying governing philosophy, dogma, or doctrine.
Such centralizing doctrines are administered to the congregation of cult members by pastors or high-priests. Or, in the case of the church of sports entertainment, by television analysts and commentators, most of whom were formerly professional athletes. “Howard Cosell” – the obstreperous and opinionated sports television commentator of decades past – once derided this specialized class of sports “journalists” as the “Jockocracy”.
As most of this site’s regular visitors may recall, “Howard Cosell”, the former host of ABC’s Monday Night Football, was identified as a fabricated character scheme portrayed by Hollywood actor Rod Steiger.
But no religious doctrine would be completely solidified without a unifying or centrifugal charismatic figure.
In the religion of Christian fundamentalism, there is the figure of Jesus Christ.
In the universalist religion of the Catholic church – controlled by the Jesuit order or Society of Jesus – there are venerated figures elevated to sainthood such as Mother Mary, the exoteric version of the esoteric or occult figure known as Isis or Sophia.
The religious cult known as sports entertainment has its own “saints” or charismatic figures – star athletes – who are fawned over and virtually worshipped by those known as “fans”.
These cult worshippers known as sports “fans” are a relatively modern-day sociological phenomenon.
This commonly expressed vernacular – ‘fan’ – exists as an abbreviated form of the term fanatic or fanaticism.
According to Webster’s dictionary, a ‘fanatic’ is defined as follows, 1.) disapproving: a person exhibiting excessive enthusiasm and intense uncritical devotion toward some controversial matter (as in religion or politics), “a religious fanatic (=extremist), the fanatics are convinced they are serving a righteous cause and that all means are justified…”
How many of your friends, family members, or co-workers – whether relating to politics, religion, or sports – would the above definition – as so expressed – appropriately apply?
Turns out, it is just this sort of uncritically devoted fanaticism which has blinded America’s legions of sports fans to its fabricated and utterly scripted theatricality.
Remarkably, this overt fanaticism has also blinded a majority of those congregated among America’s cult of sports entertainment worshippers from noticing an alleged “dead” man is now playing in the NFL.
Also, fans of the cult of sports entertainment have yet to realize one of the NBA’s major stars – Lebron James – was formerly known by another name which, not so long ago, became superlatively renowned in the world of professional sports.
Those who own and collectively control the profitable business of sports entertainment (the Society of Jesus or the Jesuit order) have informed its fanatical legions – in the form of a legal disclaimer printed on ticket stubs and in the form of an official judgement issued by a US Circuit Court of Appeals Judge – of the true nature of professional sports and, specifically, that of the NFL.
In the case of the NFL, the league is only legally required to present their “fans” with a license (i.e. ticket) to observe an entertainment spectacle, but it is not legally required to officially sanction or provide its ‘fans’ with a legitimate sporting contest.
Apparently, in view of this fact, the NFL reserves the right to draft or contract “athletes” (actors) who, allegedly, have been reported as officially “dead”, and to also recycle athletes under the guise of pseudonyms to satisfy profitable motives.
Does the NFL athlete observed in the image above appear eerily familiar to everyone?
Perhaps, everyone has seen this particular athlete don another professional league’s uniform, one which might be more familiar?
But Hollywood, the entertainment capitol of America, has never been what it appears to be.
Hollywood is a grand tool utilized by the thirteen, ruling elite Jesuit families to implement psychological operations.
Its “celebrities” are also merely tools, experimental models used to dispense Pavlovian-styled behavioral modification upon their legions of blind worshipers among the American general public.
Most, if not all, of these “celebrities” aren’t real, and only exist as carefully-crafted personas and well-managed and meticulously designed images – such as the Hollywood filmmaker known as “Tyler Perry” – which are blindly consumed and even admired by the public.
Furthermore, as we’ve learned through the process of in-depth investigation, not only do most of those known as Hollywood’s “celebrities” exist only as fabricated character schemes acted out by live-action role players, many of Hollywood’s “stars” have been identified as royal descendants of the thirteen, ruling elite Jesuit families.
These families not only own and control Hollywood, but, as well, own and control the US corporation.
Most recently, Hollywood’s prestigious Academy saw fit to bestow “Tyler Perry” with a ‘Humanitarian’ award.
Everyone may now be aware, before the commencement of the 93rd (12/21/777/Alistair Crowley’s joker intelligence code) Academy Awards – Hollywood’s annual ceremony of narcissistic self-congratulation – hordes of homeless vagrants were forcibly removed from the premises of Union Station in Downtown Los Angeles.
Yet, one should expect, those among Los Angeles’s homeless are the very same Hollywood’s “celebrities” claim suffer from a lack of “representation” and “equitable” consideration.
One of those “celebrities”, attending this year’s Academy Awards, was “Tyler Perry”, who, after being called to the podium to accept The Jean Hersholt Humanitarian Award, delivered a rousing but platitudinous speech denouncing “hate”.
As for the plight of the homeless, those forcibly removed from the premises – one supposes, so the pristine red carpet wouldn’t be sullied – they went unmentioned by Perry during his speech.
Furthermore, not one of those among Perry’s fellow “celebrities” – those also remaining unaware of their insufferable penchant for regurgitating honeyed and politically correct buzzwords – seemed to be bothered taking any discernable notice of this glaring irony.
This the story of a European prince, one who is alleged to be “dead”.
Nevertheless, decades ago, during the early years of the 1960’s, this Danish prince was cast, perhaps ironically, in the annals of American history as a lowly but mafia-connected night club owner and an “assassin”.
Not more than one-half decade later, however, this Danish prince would go on to play the role of a US presidential candidate who was also “assassinated”.
Considering the concept of karma, one supposes, what goes around comes around.
Turns out, when describing the true nature of Danish Prince Henrik’s family – the royal House of Glucksberg (a royal house originating in Northern Germany) – the former description – ‘mafia-connected’ – is certainly more than appropriate.
Prince Henrik of Denmark (AKA “Jack Nicholson”/”Jack Ruby”/”Robert F. Kennedy”) is, in fact, connected to a mafia, the organized crime families we’ve come to know as the thirteen, ruling elite Jesuit families whom, since the ancient era of imperial Rome, have controlled the destiny of humanity and, as well, controlled – through the monopolization and weaponization of the MSM – what the public has been psychologically conditioned to perceive as recorded “history” and, therefore, “reality” (Post-Modern Reality Simulation).
What follows is a story about a man – an abdicated European royal and also one of Hollywood’s biggest stars during the era of the 20th century – who sold out the world to a terrifying future.
For several decades, while this man danced and sang on Hollywood’s silver screen, charming his way into America’s hearts and minds, those same admirers remained blissfully unaware of his hidden identity, the clues to which are subtly hidden in the biographical details of the various fabricated character schemes he famously portrayed.
One of the most blatant clues of this famous Hollywood entertainer’s hidden identity as a European royal stares us in the face from the frames of the following pair of images.
Leopold III of Belgium:
While everyone is performing their ocular comparisons between the previous sets of images and, perhaps, begins to wholly perceive the obvious similarities of facial geometry and the identical epidermal contours of the ears, consider also the lyrical content of a once popular song – ‘The Man Who Sold the World” – from the 1970’s, one which was both recorded and performed by one of Leopold III’s (AKA Bing Crosby) most famous relatives – David Bowie AKA Grand Duke (the thin white duke) Henri of Luxembourg.
The Man Who Sold the World:
We passed upon the stair
We spoke of was and when
He said I was his friend
Which came as a surprise
I spoke into his eyes
I thought you died alone
A long long time ago
Oh no, not me
We never lost control
You’re face to face
With the man who sold the world!
Though, upon first glance, those set of song lyrics may seem rather cryptic, nevertheless, if one knows what to look for, a key word contained within the song’s very first line – ‘stair’ – gives away the identity of yet another famous character scheme portrayed by one of Leopold’s royal relatives, Prince Louis of Bourbon-Parma (AKA Fred Astaire/Walt Disney/Al Jolson).
Both the royal host actors identified in portrayal of the Hollywood fabricated character schemes known as “Bing Crosby” and “Fred Astaire” (AKA Walt Disney/Al Jolson), it turns out, are genealogically related to the singer, David Bowie (AKA Grand Duke Henri of Luxembourg), of this particular song, ‘The Man Who Sold the World’.
Moreover, the line, “I thought you died alone”, when considered within an “official” biographical and historical context, serves as a particularly telling clue about one of the 20th century’s most infamous fabricated character schemes – Adolf Hitler – whom, as confirmed by facial recognition, ear biometric, and image comparison analysis, was portrayed by Bing Crosby (AKA Leopold III of Belgium).
Consider also, the implication of the reply given by the “Man Who Sold the World”: “Oh no, not me, WE NEVER LOST CONTROL!”
The performer of this song, David Bowie (AKA Grand Duke Henri of Luxembourg), a royal relation of both Leopold III (AKA Bing Crosby/Adolf Hitler) and Fred Astaire (AKA Prince Louis of Bourbon Parma/Walt Disney/Al Jolson) is allowing you, the listener, to become privy to a conversation which subtly reveals the hidden identities of two of his royal family relations.
David Bowie (AKA Grand Duke Henri) is also attempting to relate a historical truth which contradicts the “official” documented record regarding the alleged ill-fate of Adolf Hitler (AKA Leopold III/”Bing Crosby”).
In essence, the singer is relating that, though his royal family relation – Leopold III (AKA Bing Crosby/Adolf Hitler) – was historically rumored, at the close of WWII, to have died alone in a bunker after suicided by a poison cyanide pill, he, in fact, lived on to sing about a ‘White Christmas’, a traditional seasonal standard with which everyone is undoubtedly still familiar.
Not only that, the singer is imparting a trenchant message, addressed to both his enquirer and to the audience: Our royal family – numbered among the thirteen ruling elite Jesuit families and majority owners of the global military/industrial/media/entertainment complex – are still in complete control of the entire world and, in fact, own all of the world’s human and natural resources, a control which we shall never relinquish.
As everyone will soon observe, there are subtle but distinct synchronicities and parallels concerning the comparative details which are contained in the “official” biographical narratives of each fabricated character scheme – “Bing Crosby”, “Adolf Hitler” – relating to the European royal identified as their live-action role player, Leopold the III of Belgium.
But, when one knows what to comparatively look for, each of these narrative details, when held up to comparative and objective scrutiny, suddenly transform into surefire giveaway clues; signposts and billboards on the road to the truth.
One supposes – since the “inauguration” of the present American presidential administration – everyone has witnessed some of the recent performances of White House Press Secretary Jenn Psaki.
From the outset of her tenure as White House Press Secretary, Psaki has become infamous – as everyone can observe in the video excerpt displayed immediately below – for what has become her standard response to questions about the Biden administration’s policies: “I’ll have to circle back”.
Many, whom frequent this site, may have already surmised Psaki’s well-used response has occult and masonic significance and, as well, relates to the practice of sacred geometry.
You would be correct.
Whether intentional or not, Psaki’s “circle back” is a reference to the Ouroboros, or the snake eating it’s own tale, the cycle of death and rebirth.
Though recently, Psaki has received considerable criticism for her seeming unwillingness to comprehensively respond to direct questions posed by members of the gathered press, one had not, until only recently, viewed – as it were – Psaki in action.
When I finally did, one’s intuitive senses were immediately pricked with a sense of overwhelming familiarity.
Yes, I had, with certainty, seen her before, but long ago, long before she was known as “Jenn Psaki”.
The tone, timbre, and unique cadence of her voice, along with her curious penchant for certain distinct physical mannerisms (frequent, expressive, and often excessive hand fluttering/hair flipping), struck chords of distant memories, of an era of time during the 1980’s, when a group of young Hollywood actors, dubbed the “Brat Pack”, were seen quite frequently on the silver screen and, with great frequency, enjoyed lavish attention, both from the press and public alike.
Yet another novel attraction has been brought into the carnival known as American politics.
Rest assured, though the American public has been repeatedly told of her glittering biographical backstory, “Kamala Harris” – recently named as the official running mate of democratic presidential nominee “Joe Biden” – is a phantom made to appear as material living color, a popular image created for the grand theatrical stage which we have come to recognize as the phenomenon of Post-Modern Reality Simulation.
Yes, folks, “Kamala” is a fabricated character scheme currently portrayed by a Hollywood actress, one who has co-starred in cinematic productions with the likes of Liam Neeson, Leonardo di Caprio, and the Jesuit trained (Fordham University) Denzel Washington.
Furthermore, there exists circumstantial evidence, her political character’s pseudonym was drawn from, or, perhaps, was inspired by the name of a fictional movie character portrayed by a child actor who, in 2019, co-starred with Kamala Harris’s host actor.
Though the “official” biographies of “Kamala Harris” tell us her racial profile derives from Indian and African-American emanations, these details have merely been scripted and tailormade for a fabricated character scheme.
In fact, as shall be proved – like Barack Obama (AKA Jerry Seinfeld) – the biographical racial profile attributed to the fabricated characterization(s) of “Kamala Harris” is fraudulent, a cynical manipulation which was designed for the purpose of political image making.
The practice of “Behavioral Science” is perpetuating the Covid-19 “pandemic”.
As has been suspected, the perpetrators of this psychological operation are attempting to “nudge” the public towards adopting new behaviors and perceptions.
In fact, as the British public is most likely unaware, the Prime Minister, Boris Johnson, has employed the services of BIT (Behavioral Insights Team) – also known as a “Nudge Unit” – to help manage public perceptions regarding the Covid-19 psychological operation.
According to an article, published at Spiked-online.com, contrary to the British government’s insistence its decisions, throughout the “coronavirus crisis”, have been guided by ‘the science’, it turns out, this isn’t the only science the Prime Minister has at his ready disposal.
In another bit of news related to the Covid-19 psychological operation, but, left unsurprisingly unreported by the MSM, it has been discovered that, prior to the coronavirus’s “outbreak” in China and in the US, the Bank of International Settlements issued “pandemic insurance bonds”.
Yes, folks, as suspected, the sole impetus behind the C-19 psychological operation was financial in nature, and had nothing to do with protecting the safety, health, and welfare of the general public.
No, rather, the thirteen ruling elite Jesuit families and their conspirators well-planned in advance to profit from the prospective deaths of millions of human resources.
The story behind such intriguing details, and much more, shall be expounded upon in a following installment, coming very soon.
But before further delving more deeply into the “Nudge Unit” of behavioral scientists at BIT and the covert financial chicanery of the Crown Temple-controlled Bank of International Settlements, yet another well-publicized MSM “story” has emerged and, this time, involving the US military and the “disappearance” and alleged “murder” of US army soldier, “Vanessa Guillen”.
The coronavirus psychological operation is a grand masonic ritual to initiate everyone, while employing the most sinister methods of psychological coercion and manipulation, into becoming a dedicated member of the Templar/Jesuit/Masonic global cult.
Though the MSM will never report it, “Covid” is an anagram for Certificate of Vaccination Identification.
Covid-19 is a code derived from those at the highest levels of the military/industrial complex for a global Marshall Law exercise.
As we’ve learned, who else but those at the highest levels of the triumvirate Templar/Jesuit/Masonic global cult not only cherish the use of semantics as a tool of deception, but also thrive on the pageantry and grandeur of elaborate ritual initiations?
Only this time, the outrageous behavior of sycophantic public officials is signaling to those of the general public they have no choice but to comply and submit to participating in this grand masonic ritual.
The thirteen families have employed their vast media organs and, augmented by baseless threats of arrest from thuggish legions of masonic police guilds, are attempting to force mass compliance with a globally promulgated advisory public health opinion, the legality of which, while only made to appear legal with the public’s conspicuous consent, is backed by nothing other than blatant acts of psychological coercion, emotion driven propaganda, and crude intimidation.
The donning of masks and gloves mirrors the ritualistic garb of high-degree freemasonic ceremonies and rituals, while the ‘washing of hands’ represents a psychological cleansing; a spiritual transcendence from death to resurrection and, finally, to rebirth.
This is a symbolic transcendence which is necessary, for those who partake in the masonic ritual, to become reborn into a new spiritual perception of not only themselves but of their place in the new order of global affairs.
Recently, we have observed yet another key actor appearing on the global stage.
“Doctor Deborah Birx” now stands before the American general public to assume her role as the ritualistic master of ceremonies, and to remind all and sundry of their duties and roles as the grand masonic ceremony progresses to its final culmination.
The appearance of Birx symbolically represents the emergence of Isis, the feminine energy of the Triple Goddess.
She is also a symbolic representation of the high masonic priestess; the nurturing earth mother, guiding the masses of new initiates as each prepares to transcend the death of old identities and readies to embrace a symbolic rebirth into the new age of Aquarius.
One presumes, Birx is well-aware of her occulted role, due to one simple fact: her host actor is a close family relation of a celebrated Wiccan high-priestess; one who is both a high-ranking initiate into the masonic order of the Eastern Star and a European princess in disguise.
Turns out folks, the host actor identified as “Doctor Deborah Birx” is not only well-familiar to us, she is the daughter-in-law of one of Hollywood’s most esteemed, accomplished, and award-winning actresses — Shirley McClain — the sister of Hollywood actor/director Warren Beatty AKA former US president Richard “Tricky Dick” Nixon.
While everyone watches the following performance of “Doctor Deborah Birx”, one suspects there are some, if not many, who will begin to recognize, while paying especial attention to the particular qualities of her voice, mannerisms, and facial geometry, that Doctor Birx resembles a certain former democratic presidential candidate and senator from the state of Massachusetts.
But the stunning discoveries don’t end there.
Another video clip, excerpted from a popular BBC television production, features an eerie example of predictive programming which foreshadowed the coronavirus’s global psychological operation.