Upon making yet more startling discoveries having to do with the JFK assassination, one felt perhaps additional installments were necessary.

These new discoveries shall fully demonstrate, beyond shadow of doubt, the event known to American history as the JFK assassination was nothing more than a grand psychological operation executed in joint cooperation and on behalf of the ruling elite families by a major branch of the international intelligence octopus, CIA, army intelligence, and selected high-level masonic initiates of the American entertainment and music industries with royal European lineage.

Though it may seem inexplicable, perhaps even contradictory to what most have been conditioned to believe, sometimes the truth can be discovered from the most unlikely and unexpected of sources.

Oftentimes folks, Hollywood’s fantasy and fiction are utilized to conceal objective truth.

One only has to remain observant and attuned to what would have ordinarily remained hidden behind the veil of social and psychological programming and conditioning.

To break through to the other side, one must learn to read between the lines, as it were.

A reexamination of key scenes from Oliver Stone’s 1991 blockbuster Hollywood film production, JFK, has revealed fresh, significant discoveries, clues which most incredibly, were conspicuously left right out in the open but went unnoticed by the America public – until now, that is.

In fact, it has become abundantly clear Oliver Stone AKA Barry Diller AKA Prince Eduard von Furstenberg, in his efforts to produce a piece of epic cinema – though presented to the public in the guise of speculative fiction and rife with sinuous paths leading only to dead ends of misdirection, disinformation and melodramatic sensationalism – has perhaps wittingly provided the general public with a direct road map to the truth.

Considering director Stone’s (play on words through created pseudonym=masonic cornerstone) genuine identity, it is clear the criminal ruling elite’s, either out of arrogance or as a method of mocking the conditioned naivete of the general public, cannot help but leave their signatures or fingerprints behind as clues.

Also, while recently reexamining the characters of John F. Kennedy’s First Lady Jaclyn Onassis and, Oswald’s alleged Russian mistress Marina with fresh eyes, one has managed to unearth yet more stunning discoveries and the presence of host actors whose names will appear most familiar to loyal readers and regular visitors.

Stay tuned folks, for one believes plausible answers to the mysteries that have for so long been buried deep beneath the mainstream and accepted narrative of this most legendary historical event can now be revealed.

As loyal readers may have expected, Oswald wasn’t the only actor in Dallas’ Dealy Plaza on the day of November 22, 1963. The alleged slain president and his so-called First Lady were also portrayed by host actors. In fact, the entire story from beginning to end, was nothing more than a masonic inspired, ritualized and theatrical reenactment of an ancient Greek legend played out in public view.

The question remaining: who was on the ground that day in Dallas coordinating the theatrical pantomime and directing the media narrative?

It is no coincidence, and as most regular visitors to Newsspell have before so keenly observed, that when examining the biographies of Hollywood and music industry luminaries, there is invariably a military connection to be found and in many cases, a biographical nexus with military psychological operations and intelligence.

If one endeavors to connect the dots further still, Hollywood, the American entertainment industry and, the military/industrial complex, have always shared close ties and in fact, have historically worked hand-in-glove.

But even with such compartmentalization, many may still ask, how is it possible someone wouldn’t have come forward?

The answer: given that army intelligence was involved with the key execution plan on the ground at Dealy Plaza, the assassination, like Sandy Hook, Boston bombing and other similar events comparable in scale, was set up under the guise of what was no doubt billeted as a highly-structured security exercise or drill. All the high-level participants were sworn members of the masonic brotherhood, while lower-level participants were most likely working under strict contractual terms and conditions and or iron-clad confidentiality agreements compounded by military compartmentalization, and wouldn’t have been privy to the larger scenario until well after the fact, if at all.

Only long after the fact would the dramatic script’s narrative – likely composed months before November 22, 1963, then acted out during the course of a military executed drill weeks ahead of the historic date in question – have been subsequently announced to the public at large as the tragic death of the US president.

Like a movie filmed on location, the final cut was disseminated as an historic news narrative and finally viewed by the public weeks later. The rest of the story – leaked out over a series of years and even decades in tantalizing shreds of disinformation and misdirection as to the culprits involved and their methods of operation – as loyal readers shall hear toward the end of the following clip culled once again from Oliver Stone’s JFK,  merely represented dramatic “scenery for the public”:

Listen very carefully to the dialogue beginning at, appropriately enough, 3:07 (777), and when listening intently, put what is being said in the context of a psychological operation – like Sandy Hook, Boston bombing, 9/11. This is the ruling elites way of speaking directly to the general public of their true intentions and of their genuine methods of operation while utilizing a communication medium the target of the information has been thoroughly conditioned to accept as fantasy and fiction:

“There was an air of MAKE BELIEVE in the Pentagon and CIA. Those of us who had been in secret ops knew from the beginning the Warren Commission was FICTION. The REAL question is WHY, the how and the who are just SCENERY FOR THE PUBLIC.”

As to the why, the US government had to keep selling the Soviet Union as a genuine threat to national security. Offering JFK as a sacrificial martyr, and setting up Oswald the patsy as a communist sympathizer working with CIA’s the Fair Play for Cuba Committee, emotionally committed the public to the belief that more funding was necessary for America’s military/industrial complex.

The assassination further tempered any of the public’s latent misgivings about the purpose of the cold war and the ongoing military escalations overseas, and further tempered any protest the majority of the public may have had about the siphoning of enormous tax expenditures for foreign adventures.

But this was all just a geopolitical front.

In truth, the cold war, the military escalations in Vietnam, and the incipient space program were merely more “scenery for the public.”

Unbeknownst to the public during this era however, the enormous tax expenditure bills enacted by the US congress shortly after JFK’s assassination were secretly being utilized to help fund the ruling elite’s ongoing and lucrative business ventures.

These were the production and distribution systems of the lucrative international narcotics trade, as well the massive infrastructure modernization and industrialization projects which had been slated to take place during the Kennedy era in the Far East as part of the post-war Marshall Plan, where strategic population relocation, controlled demolition, and human, natural, and market resource exploitation were all well underway in Cambodia, Laos, Vietnam, and China.

The following video clip is yet another example of the ruling elite’s sly method of operation in revealing the truth to the public using a communication vehicle that is presented as a fictional cinematic production. This is from 1973’s Executive Action starring Burt Lancaster:

Many may ask another pertinent question: why would the ruling elites use Hollywood movies as their method of revelation?

Utilizing a visual medium perceived to be a vehicle of fantasy to relate objective truth is consistent with the occult principle of mirrored reflection and the concept of duality, enabling objective truth to be subconsciously perceived while still preventing its conscious recognition by hiding it behind a seemingly impenetrable veil of lies.

In literature, the occult concept of mirrored reflection is perhaps best described through the narrative of Lewis Carrol’s Alice in Wonderland, a world where nothing is what it seems. In that sense, it could be said that all of recorded history is but a journey “through the looking glass.”

Remember folks, the primary concern of the ruling elite families is global commerce, but they manage to stay rich, because they never invest their own money.

Rather, they utilize the public’s money to fund the profitability of their global projects. Psychological operations like the JFK assassination are merely designed to ensure the public’s wholesale emotional investment, grand ruses which, time and again, induce the unwitting masses into willingly handing over their own wealth and treasure to fund the dreams of those that secretly rule over them, those that for centuries, have viewed the peasant class as mere tax slaves to their globally consolidated commercial system.

The rest – as the character in Stone’s JFK so eloquently put it – is merely scenery for the public, dramatic narratives designed to keep the minds of the masses occupied with superficialities, so they may never suspect they are systematically lied to and robbed blind by self-appointed elite families, by a consolidated pack of psychopathic, money mad pirates.

It follows then, that in order for a massive psychological operation such as the JFK assassination to have been successful, the integrated but compartmentalized involvement of each of the aforementioned elements would have been key in its execution. It is well-known that Dallas and the state of Texas have long been a hot bed of intelligence activity, and the city of Dallas is home to one of the largest and most well-attended masonic Grand Lodges. The JFK assassination would have been produced not unlike a Hollywood movie, with Dealy Plaza, much like Newtown, Connecticut, serving as a closed, Hollywood-like movie set.

There is every indication that all of the footage of the president’s motorcade is historically misrepresented as having been filmed on the day in question of November 22, 1963 and, there exist additional indications, even the heralded Zapruder film was pieced together from B-roll footage and outtakes in post-production.

After all, what empirical evidence exists that the pre-assassination footage of Kennedy and the First Lady disembarking from Air Force One at Dallas International on November 22, 1963 was even filmed on the day in question? Hypothetically, how easy could it have been for army intelligence units, aided by the masonic-controlled Dallas police force, to close off Dealy Plaza and set it up like an on-location movie set, complete with extras and those portraying starring roles?

It is remarkable to still observe, that even with a virtual laundry list of absurd contradictions inherently evident with the JFK assassination narrative, the American general public still assumes any footage claimed to have been shot on the day in question is indeed genuine and a valid representation of historical events.

As for the Zaprider film, repeated examination demonstrates entire sections of the film were spliced together in what must have proved to be a rather crude post-production process. Considering the demerits of the famous 8mm film further still, it was not even observed by the American public until more than a decade after the event, and its authenticity as an empirical representation of what occurred on the date of the fateful day in question has now been almost fully discredited, even by most mainstream assassination researchers.

Speaking of the infamous Zapruder film, when examined much more closely, particularly those frames featuring the “kill shot” that allegedly struck the slain US president John F. Kennedy, one shall notice odd anomalies that may have gone previously unnoticed. For example, the question as to why Kennedy’s First Lady, Jaqueline, attempted to abscond from the back seat of the open limousine. Is this normally how one would react amid a barrage of flying bullets? Or would it have better appeared for her to duck for cover, rather than climbing atop the back of the limousine, thus making herself a wide open and unprotected target for Oswald, the alleged sniper?

Look closely at Kennedy’s facial features. Does his skin appear to have an unnatural pallor – waxen-like, perhaps even the consistency of plastic?

Why is it, even after his upper torso has been wildly jostled, the placid integrity of JFK’s tousled mane of hair is stubbornly maintained and never seems to become even slightly mussed?

If you have come to the conclusion something is wildly amiss with JFK, then we are of one mind, folks.

Throughout the entirety of the Zapruder clip, the Kennedy character is portrayed by what is termed in Hollywood as “theatrical property.” (https://en.m.wikipedia.org/wiki/Theatrical_property)

Although the Kennedy prop, as least to the stubbornly unobservant, may seem to “read well” as it were, one shall note at the moment immediately following the “kill shot”, Jaqueline Kennedy appears to grasp for an object under the president’s neck.

What is she doing?

While performing her role, she has been directed to activate the stunt prop.

Per Wikipedia, a stunt prop is a breakaway object that, while designed for breakage and debris and made to look real, are primarily placed on-set to approximate the visceral effects of violent action or mayhem, but are in fact merely mock-ups.

After the “kill shot,” Jaqueline Kennedy can be seen scrambling to retrieve that portion of the stunt prop predesigned with a small impact explosive which appears to have consisted of colored sugar glass or some other Hollywood designed material prop fixture.

One wonders why this outtake with Jackie fumbling for the prop wasn’t edited from the final cut before it was shown to the public? Because primarily folks, the ruling elites wanted the public to see it, knowing even more than a decade on from the tragic death of their president, a majority of the American public were still emotionally invested and likely wouldn’t spot such anomalies. Secondarily, they wanted the public at large to subconsciously recognize who had done this to them, knowing that even when that terrifying realization became triggered by their conscious mind, most, if not all, rather than face the unfathomable psychological implications of their conscious fears, would opt to shrink back into the safe tortoise shell of their mundane routines.

Upon once again observing the entirety of the video from the beginning of the clip, several elements become immediately noticeable. First, the total number of people in the background of the shot appear to alter from frame to frame, as do the manner of their apparel, which is evidence this “scene” was run through several times, as it would have been on a Hollywood movie set to create the desired dramatic effect envisioned by the director and executive director of the project.

One shall also notice the oddness of the foreground and background shadows, which also appear to converge from frame to frame rather than running parallel as would be normally expected. This implies, that not only may there have been artificial lighting added, both on-scene and perhaps in post-production, but footage from the various takes, shot at varying times during the daylight hours, may have likely been spliced together in post-production. Still, decades after the final film production was presented on network television during the era of the mid-1970’s by Geraldo Rivera (AKA controlled-opposition, CIA trained social agitator Reverend Al Sharpton), the majority of the general public still appears unwilling to even entertain the slightest notion the Zapruder film may be a complete fabrication starring hired actors portraying roles.

Never should it be misconstrued; the ruling elites and their minions at CIA are not prone to making mistakes. Rather, these anomalies were shown out in the open as part of the psychological operation, to accurately measure and determine the credulity and perceptive abilities of a great cross-section of the American public.

The shills sent over to Newsspell from the local masonic lodge to scoff at the author with whatever enters their feeble minds and to collect their monthly allotment of Walmart  gift cards, will no doubt raise equally feeble objections to the assertions made here.

Be that as it may, one supposes when over the passage of years the ruling elites began to notice the observable tears in the thin but obscuring veils thrown up around the JFK assassination, they hastily decided to protect themselves with plausible deniability and order their upper-level shills and controlled-opposition agents to begin publicly denouncing the authenticity of the Zapruder film, to quietly assert that its former, paramount status as an official document of historical verification has now been officially rescinded.


Long known for having donned trademark large-framed designer dark glasses, Jaqueline Kennedy-Onassis held the American public spellbound for decades after the assassination of her alleged husband.

But who was she really?

Aside from her choices of accessory fashion apparel, she was also noted for her distinctive, breathy voice, a voice which proved to enchant millions around the globe.

But what if, “Jackie” turned out not to be who she claimed?

Below, one has provided the following video clips with which loyal readers can utilize to ponder the remarkable similarities of the voice audio samples culled from these four famous women from American popular culture:

Jaqueline Kennedy beginning at 0:58:

Sharon Tate:

Ann-Margaret Tonight Show appearance with Johnny Carson AKA Lee Harvey Oswald:

Marilyn Monroe beginning at approximately 4:51:

Loyal readers are free to come to their own conclusions. Nevertheless, it can now be reported, meticulous comparative voice analysis clearly indicates that Ann-Margaret served as the host actor for not only Jaqueline Kennedy, but also Marilyn Monroe (MM=33), Sharon Tate (who went on to star in the Manson serial murder psychological operation of 1969) as well former child star Darla Hood and 1950’s torch singer Polly Bergen (See:Peter, Polly, JFK, Bobby, and Jackie too! (Part II).

Not only has Margaret displayed a preternatural ability to rise from the dead to portray a myriad number of pop culture icons over a span of decades, but she has demonstrated a chameleon-like knack for spellbinding the public with her various performances, despite retaining the obvious telltale voice characteristics with each character transformation.

Never truly wishing to leave loyal readers in suspense, but one has decided a third installment may be called for. And folks, you may not want to miss this!





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