Wernher von Braun, the former Nazi brought to America after World War II via Operation Paperclip, is historically credited with developing, engineering the rocket technology which made NASA’s Apollo space program possible. However, evidence has been unearthed which serves to undermine the credibility of that accepted narrative. The facade of NASA’s established history, while perceived at large to have been etched into stone, is now showing significant cracks, conspicuous fissures, exposing glimpses of the truth which, for decades, have been concealed beneath.

After arriving in America from Germany, von Braun first came to the public’s attention when he appeared in a series of three films produced by Disney.

This series of Disney films featuring von Braun and the rocket technology he was alleged to have created were produced to excite the public’s imagination and to whet their appetite for the prospect of America’s future exploration into the new frontier of outer space. The films also had the added effect of psychologically conditioning the public into accepting the creation of NASA and into accepting the billions of tax dollars stolen from them to fund its vast bureaucratic, organizational structure. In order to sell this misbegotten package to the American public, NASA needed a frontman, a spokesperson who was not only capable of conveying the feasibility of NASA’s Apollo project with what appeared to be a degree of scientific expertise but one which was effectively capable of projecting an authoritative but telegenic image. To judge from the public’s positive reaction, the creation of Doctor Wernher von Braun as an effective propaganda dissemination tool met all of these qualifications and proved to fit the bill most suitably. At that time, however, the American public remained unaware that von Braun’s relationship to Walt Disney, to the legendary Hollywood actor cast in the portrayal of Disney’s media-generated character fabrication, and to CIA’s military connected film and photographic studio nestled in the remote hills of Laurel Canyon, Los Angeles, California, known as Lookout Mountain, were much closer than anyone could have ever been previously led to believe.

LOOKOUT MOUNTAIN

Though Wikipedia claims that Lookout Mountain Air Force Station was established in 1947 – the same year CIA became a cruel reality – it was actually built in 1941, when America’s military involvement in World War II began. Wikipedia also claims that though Laurel Canyon’s secretive USAF station was closed and became defunct in 1969, this claim is contradicted by the fact that Lookout Mountain appeared in the closing film credits of George Lucas’s Hollywood blockbuster Return of the Jedi, which was released to theaters in 1983, indicating that the base was still active and in use.

For the duration of its existence over which it was said to have produced over nine-teen thousand films, the size, scope, technological prowess, and prolific nature of Lookout Mountain’s facility was comparatively unsurpassed by rival Hollywood studios. During its heyday as a producer, distributor of U.S. corporate government and military propaganda, Wikipedia reports that, “the studio consisted of one large sound stage, a film laboratory, two screening rooms, four editing rooms, an animation and still photo department, sound mixing studio, and numerous climate-controlled film vaults. Using the latest equipment, the studio could process both 35mm and 16mm color motion picture films as well as black and white and color still photographs.”

Lookout Mountain’s film studio, which was home to the 1352nd photo group, also employed the services of an array of Hollywood’s most renowned film directors and stars, including Bing Crosby, Ronald Reagan, Marilyn Monroe – SEE: Hollywood Actors Recycled into Runaway Rock Stars – Walt Disney, and Jimmy Stewart, the latter two of whom, as shall be later demonstrated, both had a direct and intimate connection to NASA’s Wernher von Braun. Lookout Mountain not only drew civilian personnel from Hollywood studios such as Metro-Goldwyn Mayer and Warner Brothers, but also from RKO.

While both Crosby and Reagan have both been repeatedly exposed as perpetrators of Post-Modern Reality Simulation, Marilyn Monroe was a character modification of Jackie Kennedy, linking her to RKO pictures, owned by Joseph Kennedy, the same studio responsible for funding the production of Citizen Kane, hailed by film critics as the finest example of modern cinema. Orson Welles, who both directed Citizen Kane and starred in the film’s leading role, was also the centrifugal figure in Mercury Theater’s War of the Worlds radio production, which sought to simulate a radio broadcast of an alien invasion of New Jersey from Mars with the intent to measure the horrified public’s behavioral reactions. The moniker of Welles’s independent repertory theater company was named after the Roman mythical deity of commerce, communication, travelers, and trickery, a trickster who would accompany souls on their journey to the underworld.

The host acting/live-action role playing templates from which the fabricated character modifications known as Bing Crosby (King Leopold III of Belgium/CIA’s Allen Dulles/Adolf Hitler/Carrol O’Connor) and former California governor, former U.S. president Ronald Reagan (aka King Constantine II of Greece and Denmark/Frank Sinatra/civil rights lawyer William Kuntsler) derived were both identified as having emanated from European royalty, the implications of which are, of course, truly astounding.

Meaning that, since the dawn of radio, television, and modern media, if not long before then, intelligence agencies – CIA, FBI, MI5, MI6 – in cooperation with European royal families, including many members of the British royal family, have been acting in a highly coordinated fashion, working in collaboration to effectively script and to essentially influence, shape, and ultimately control the general public’s perception of reality while incrementally draining populations of human resources economically dry with debt usury and a global network of parasitical central banking concerns.

SEE: JFK Hoax Executed by Wizards of Oz William Kunstler’s Unlucky Chicago Seven

NUCLEAR TEST SIMULATIONS

Lookout Mountain’s 1352nd photo group was responsible for the filming and photographing of nuclear bomb tests which, as indicated by the photograph displayed below excerpted from Wikipedia in association with Operation Greenhouse, were theatrically scripted in advance. Suspiciously, according to Wikipedia, plans and diagrams for the Manhattan Project’s ‘Little Boy’ uranium bomb, the first to be dropped on Hiroshima, Japan before the close of World War II, were destroyed. Though various explanations, however feeble, have been given for this particularly inexplicable decision, the nature of this sort of dubious narrative appears all-too- familiar. NASA has also made similar claims not only regarding the plans and diagrams for Wernher von Braun’s Saturn rockets used in the Apollo moon program but also for the rocket telemetry data and the film of Apollo 11’s landing on the moon. which, in both cases, the space agency claims were either lost or destroyed.

In either Lookout Mountain’s or in NASA’s case, doesn’t this propensity for losing historically valuable documentation appear suspicious?

It does, indeed.

Turns out, not only were NASA’s moon missions nothing more than filmed simulations but the first so-called tests of the Manhattan Project’s nuclear bombs involving Lookout Mountain’s film and photo crews were as well.

The first “nuclear tests” utilized detonations of conventional ordinance spiked with radioactive isotopes which were filmed, photographed, then later dramatized in post-production using various advanced film emulsion techniques, techniques which resulted in the depiction of the infamous ‘mushroom’ cloud effect. Analysis of some of the later films designed to show the effect of nuclear detonation on civilian housing units and other building structures indicate that miniature models were used under highly controlled conditions in a studio environment. Undoubtedly, the films and photos which were later widely distributed to the public represented a form of psychological warfare, a tactical operation designed to mold successive generations of American citizens demoralized with fear of imminent nuclear annihilation into obedient, submissive, and docile tax paying slaves.

Due to the fear engendered by the films and photographs distributed to the public of these so-called “nuclear tests”, especially during America’s ‘cold war’ with the Soviet Union, justifications were manufactured for ludicrously expanding military budget expenditures. Perhaps not surprisingly, Lookout Mountain’s presence extended into Vietnam, meaning that all of the filmed news footage and photographs featured on television and on the front pages of major American newspapers depicting what was sold to the American public as a conventional ‘war’ in Vietnam were also theatrically staged ruses to create propaganda which, in a larger sense, shaped the historical perception of the entire conflict. Though Wikipedia admits that Detachment #5 of Lookout Mountain’s 1352nd photo group was deployed to Saigon, South Vietnam at Tan Son Nhut Air Base on February 8, 1966, this claim is again contradicted by one of Lookout Mountain’s own film productions – SEE: Lookout Mountain U.S. Air Force Motion Picture Production Promotional film 33584 at You Tube – which documents Detachment #5’s deployment in Vietnam as having begun three years earlier in January of 1963, a mere ten months previous to the hoaxed assassination of U.S. president John F. Kennedy (aka Hollywood actor Dennis Hopper), a scripted event which was filmed by “Abraham Zapruder” and first reported on American television by news anchor “Walter Cronkite”, both of whom were media generated character modifications of “Walt Disney”. It should also be noted that Lookout Mountain USAF base was also in proximity to Cielo Drive in Laurel Canyon, the location of the infamous murders which were alleged to have been committed by the Manson Family, led by Charles Manson a media-generated fabrication portrayed by Hollywood executive David Geffen (Sonny Bono/TMZ executive Harvey Levin).

SEE: Kid Left Home Alone Hits Rock Bottom

VON BRAUN & CHESLEY BONESTELL

Between the years of 1952-54, resulting from a collaboration between Wernher von Braun and celebrated American painter, artist Chesley Bonestell, a series of illustrated article installments appeared in the then popular Collier’s magazine entitled “Man Will Conquer Space Soon!” Throughout the decade of the 1930’s, Collier’s also featured written contributions, which in all likelihood were ghostwritten, from none other than Winston Churchill (aka MI5 agent, occultist Alistair Crowley/Jack Benny/Bob Hope/Prince George, Duke of Kent) concerning World War I and the Spanish Civil War. One of Churchill’s character modifications – Hollywood actor/comedian Bob Hope – was also closely connected to Lookout Mountain which shot every televised Christmas special Hope hosted, shows which were staged at overseas U.S. military bases.

Chesley Bonestell was a graduate of Jesuit founded Saint Ignatius Preparatory High School and, prior to his collaboration with Wernher von Braun, he designed the first illustrations depicting what became known as San Francisco’s landmark Golden Gate bridge. Bonestell had also worked as an illustrator in Hollywood with Orson Welles, painting backgrounds for the RKO studio sets on which Citizen Kane and Welles’s follow up film, Magnificent Ambersons were shot. Wikipedia reports that soon after working in Hollywood, Bonestell became “best-known for his realistic looking paintings of space exploration, including future spacecraft and scenes set on moons and planets in the Solar System. His work helped inspire the American space program and his style has been influential in science fiction art, illustration, and cinema.”

Bonestell’s painting of the planet Saturn as seen from Titan, one of its orbiting moons, published in Life magazine in 1944, was dubbed “the painting that launched a thousand careers.” About the photographic realism of Bonestell’s paintings, Wikipedia gushes, “Nothing like these had ever been seen before: they looked as though photographers had been sent into space. His painting ‘Saturn as seen from Titan’ is perhaps the most famous astronomical landscape ever.”

During his lifetime, a number of additional glowing superlatives were heaped upon the proclaimed “father of space art” in appreciation of his contributions to the growing popularity of space culture in America.

“No artist had more impact on the emerging popular culture of space in America than Stanley Bonestell,” declared NASA space policy expert and author Howard E. McCurdy. “Through his visual images,” McCurdy opined, “he stimulated the interest of a generation of Americans and showed how space travel would be accomplished.”

Astronomer, popular science commentator Carl Sagan once said of the celebrated artist’s influence, “I didn’t know what other worlds looked like until I saw Bonestell’s paintings of the Solar System.”

And then there’s this quote, excerpted from Wikipedia, from physicist Sidney Perkowitz regarding the remarkable photographic realism of Bonestell’s artistic works: “Chesley Bonestell portrayed planets, stars, and spacecraft with stunning near-photographic realism. Collaborating with experts like rocket pioneer Wernher von Braun, Bonestell’s renditions combined the best scientific and engineering knowledge of the time, and scientific exactness, with artistic imagination.”

Though the tone of Perkowitz’s latter quote attempts to oversell Wernher von Braun as an “expert rocket pioneer”, it turns out that the nature of Bonestell’s work had little to do with “scientific exactness, knowledge, and engineering,” but had more in common with Hollywood-styled special effects wizardry.

To enhance the photographic realism of his paintings, Wikipedia goes on to report that Bonestell drew most heavily on his experience working on Hollywood motion pictures, combining what he’d learned about camera angles, the use of miniature models, and photographic tricks with his unique painting techniques. Given this, and taking into account the rather revealing quotes from McCurdy, Sagan, and Perkowitz, it seems that both von Braun and NASA, aided by Lookout Mountain, took advantage of the body of cinematic knowledge Bonestell had acquired from employment in Hollywood and that for decades ever since, the agency has used that knowledge to add realism to their simulated space missions. Only now, in the twenty first century, NASA uses computer generated images and virtual reality to fool the taxpayers from which they’ve stolen untold billions of dollars. Consider also the era in which the Apollo missions took place, presided over by a presidential administration led by Richard M. Nixon (aka Hollywood actor Warren Beatty), an era in which the American dollar was being removed from the gold standard and in which heavy wage and price controls were levied, events which the American public had to be distracted from with dubious but romantic dreams of conquering outer space.

WERNHER VON BRAUN=JIMMY STEWART AKA WALT DISNEY

And now for the coup de grace everyone who has read this far in the article has assuredly been waiting for with bated breath. Comparative image, facial recognition, and ear biometric analysis indicate that NASA’s rocket man, ‘Wernher von Braun’, was a fabricated character scheme portrayed by legendary Hollywood actor Jimmy Stewart (aka Walt Disney/Prince Tassilo von Furstenberg). As indicated with either encircling or arrowed red marker in each following image, the respective brows, cheekbones, chins, lips, noses, nostrils, and jawlines are architecturally, structurally identical. In the final set of images appearing below in succession, everyone will surely notice that both Stewart and von Braun – as again indicated by encircling and arrowed red marker – have an identically placed epidermal landmark set just beneath the respective ear lobes in the form of a somewhat conspicuous skin blemish or pockmark. Both also have identically structured bags forming under the respective eyes, which are also structurally identical. During the course of one’s investigation into von Braun, there were some ancestral congruities which came to light. While, according to Wikipedia, von Braun’s mother, “Emmy von Quistorp traced ancestry through both parents to medieval European royalty and descended from Phillip III of France, Valdemar I of Denmark, Robert III of Scotland, and Edward III of England, ” famouskin.com reports that Jimmy Stewart is also related to a slew of European royalty, including Kings Edward I, Henry III and Henry VIII, William the Conqueror of England, Anglo-Saxon King Alfred the Great, and Kings Louis VI and Robert I of France. Hollywood actor Jimmy Stewart (aka Henry Fonda/Fred Astaire) has also been modified into a number of historically significant but fabricated character schemes, including U.S. president Frankin Delano Roosevelt and former U.S. senator from New York, Daniel Patrick Moynihan.

SEE: FDR: America’s Royal Hollywood Fraud U.S. Senator Moynihan’s Legendary Malarkey

Below: Wernher von Braun, Jimmy Stewart

Take note of the fact that the respective wives of both Stewart and von Braun – Gloria Hatrick McClean, Maria von Braun – appear to be remarkably similar if not identical.

Below: Maria von Braun, Gloria Hatrick McClean

Both teeth and ear biometric analysis indicate an additional match between Walt Disney (aka Jimmy Stewart) and Wernher von Braun, further indicating that both are modifications of the identical host acting, live-action role playing template.

Regarding the preceding comparisons, there will no doubt be skeptics who will point out that both Disney and von Braun have been photographed together in the same frame. The explanation for this: split screen projection, a special effect developed by Disney film makers and first used in the Disney production Parent Trap, which cast British child star Haley Mills who also played a twin version of herself which appeared with her in the same frame. As seen in the following image, the split screen method was also utilized to separate two different versions of the same actor. This is done by shooting two versions of the scene with the actor(s) in different positions, then, by process of making half of the shots transparent the two shots are superimposed. Today, with sophisticated software packages, the effect of this split screen process is more effectively and less time consumingly executed, performed using chroma key or difference matte.

Comparative ear biometric analysis indicates that the host acting/live-action role playing template in portrayal of the modified character scheme known as Wernher von Braun (aka Jimmy Stewart/Walt Disney) is Prince Tassilo von Furstenberg of the German royal House of Swabia and Holy Roman Emperors. Everyone will surely note that, in the succession of images appearing below, the identical epidermal structures of the respective ear lobes are particularly conspicuous. In the final image in succession, the identical epidermal structures of the ear lobes in common with both Disney and Prince von Furstenberg can be seen appearing on former mainstream news anchor Walter Cronkite, who was just one more among the many character modifications of Jimmy Stewart (aka Walt Disney/Wernher von Braun/Prince Tassilo von Furstenberg). The content featured in the following video excerpt – an interview conducted by newsman Walter Cronkite with Wernher von Braun – is quite amusing when one realizes the implications of the spectacle they’re being presented with. Essentially, the video features two modified character fabrications portrayed by the same actor. In other words, the host acting template/live-action role player portraying both von Braun and Cronkite, with the help of some clever but simple television trickery, is interviewing himself. While watching the video, notice the positioning of the on-camera talent and how there is never a two-shot of the actors in the same frame. This presents just one but key clue that this particular interview was not performed live on-air but prerecorded with the respective talent being filmed separately then, in post-production, their individual performances were spliced together to give television audiences the illusion of seamless continuity.

It should also be noted that during his long film career in Hollywood, actor Jimmy Stewart was once cast in ‘Harvey’, a film about an amiable eccentric named Elwood P. Dowd, whose imaginary best friend is an invisible six-foot rabbit that Stewart’s character insists is real. From an occult perspective, the symbolism of the rabbit derives from East Asian and indigenous American folklore with parallels to Western mythology where rabbits are not only associated with the concept of immortality and the moon but with Artemis, goddess of wild places and the hunt. Of course, as everyone knows, NASA’s latest moon mission was named after the goddess Artemis.

Are such incredible parallels due merely to coincidence?

One doesn’t happen to think so.

Below: Walt Diseny, Tassilo von Furstenberg, and lower down, Walter Cronkite