In the Part I of this installment, it was revealed that Mikhail Gorbachev, former president of the fallen USSR, was portrayed by the once renowned Hollywood actor and hidden father of Burt Reynolds AKA Marlon Brando, Rod Steiger.

Now, we shall also learn that Steiger – after faking his death as “Lou Costello” in 1959 – and before transitioning into the former Soviet president, became one of network television’s most beloved courtroom lawyers, a man named – wait for it folks – MASON.

But along the way, during the course of one’s investigation, it was discovered that Costello’s former partner in comedy, “Bud Abbott” – after faking his death in 1964 – moved on to become one of Hollywood’s most renowned film directors, “Mel Brooks”.

Perhaps, you’ve even seen some of Brooks’ seminal work featured on some cable television or corporate satellite television network?

As for Steiger’s famous courtroom television character, yet another actor and key participant in the phenomenon known as Post-Modern Reality Simulation, Barry Diller AKA Austro-German prince Eduard von Furstenberg, once sung a song – the thudding audio of which can be heard in the video displayed above – in honor of Mason’s memory while acting in one of his more famous music industry character incarnations, Ozzy Osbourne.

SEE: A peek behind the curtain of OZ.

Yes folks, once again, we shall dare to venture deep into the rabbit hole of the phenomenon known as Post-Modern Reality Simulation.

Actor Raymond Burr, who for several years portrayed the character known to television audiences as the tireless pro bono attorney, Perry Mason, appeared to have been cast as the people’s attorney, the man fighting for the underdog, the ever vigilant watchdog of Justice.

Or, was he?

Never having watched the show, one was stricken with how – while watching many of the video excerpts taken from the classic television series, one of which is displayed above – throughout every scene, and despite the character’s portrayal as the unimpeachable and staunch defender of the rights of those who could not defend themselves, the character’s eyes seemed to smolder with some hinting trace of irony, as if – while appearing to represent the weak against the strong – he was using their legal misfortunes perhaps for his own benefit and, in the final analysis, covertly grinding some sort of personal axe against his courtroom nemesis, District Attorney Hamilton Burger (William Whitman Talman), a psychological struggle, the nature of which, the audience is never allowed to become privy.

The show cleverly depicted the character of “Mason” as the symbolic embodiment of the higher ideals of the American Justice system, and was clearly designed to perpetuate the idea that, in the collective mind of the public, the American Justice system was primarily, and in theory, preoccupied with the fulfillment of those higher ideals of fairly meting out legal decisions to all when, in fact, the genuine truth, in practice both then and now, is quite different.

Those who have perused the author’s series of installments on the Crown Temple have come to realize that the so-called legal or Justice system – which is based on the interpretation, application and adjudication of the global principles of Admiralty Law – and its related industry of the private and public prison systems are, in fact, not conceptually variant with any other profit-driven business set up and owned by the thirteen, ruling elite Jesuit families.

SEE: How Crown Temple Rules America

After all folks, even those human resources indicted as “criminals” have to pay their pound of flesh in taxes to the presiding criminal mafia of the thirteen families and their benefactors belonging to the highest levels of the Templar/Jesuit/Masonic triumvirate.

What is truly impressive about the performance of “Raymond Burr” (sums to 149 in English Ordinal gematria=14/77/twin lightning charges of Lucifer/angelic transformation) as Mason (sums to 62 in English Ordinal/2X6=12/21/777/intelligence joker code), how self-possessed the actor remains throughout the portrayal of the character; a professional demeanor which epitomizes the quintessential traits of the “method” actor. The artistic process of “Method acting” developed as – according to Wikipedia – “a range of training and rehearsal techniques that sought to encourage sincere and emotionally expressive performances, as formulated by a number of theatre practitioners.”

Among the method acting processes’ earliest practitioners was, of course, Marlon Brando AKA Burt Reynolds, the hidden son of Rod Steiger, the very subject of this installment. The theory of the “Method” was developed by Konstantin Stanislavski, who was one of the first to propose a theatrical performer’s formal training should encompass more than just merely physical and vocal training. Rather than the “art of representation”, Stanislavski’s system prepared an actor for the “art of experiencing”.

Stanislavski’s system:

https://images.app.goo.gl/HBgvufJWcfEt2b9C7

While examining the official biographies of Burr’s career, the parallels – in terms of professional resume – between that of Burr and his host actor, the former “Lou Costello” and the man who would go on to portray Soviet president Gorbachev, become readily apparent.

Allegedly born on May (5th month/2+3/2 3’s/33/high-degree Scottish Rite Freemasonry) 21 (777/intelligence joker code) of 1917 (=36 or 3 6’s/666), it is further claimed Raymond Stacy Burr was a Canadian-American actor, who went on to star in not only the famous courtroom television drama of Perry Mason, but also, later in his professional career, starred in the television crime-drama, Ironside.

Like Rod Steiger, who began his career in the guise of “Lou Costello” starring before live audiences in American vaudeville, Burr began his acting career on the Broadway stage before moving – again, like his host actor Steiger – into the mediums of radio and television and, eventually, into Hollywood films.

As for Burr’s alleged country of birth, the corporation designated as Canada is still, to this day, a province of the Crown Temple, and therefore subject to Admiralty Law, which is enforced and litigated by those legal esquires or subjects of Her Majesty, the reigning sovereign, Queen Elizabeth II.

Beyond the career parallels with Rod Steiger, “Burr” was alleged to have been involved in numerous charitable endeavors, most notably, with the USO, or United Service Organizations, a government chartered, and privately funded organization overseen by the American Department of Defense.

As we’ve learned, the Hollywood music and entertainment industry, from its earliest inception in the West, has always closely worked, hand-in-glove, with the military/industrial complex, which President Dwight Eisenhower AKA Barry Diller/Austro-German prince Eduard von Furstenberg spoke of during his farewell address to the nation.

We have also learned that charitable, so-called non-profit organizations soliciting “private donations” are also a source of non-taxable and profitable windfalls for the ruling elite families.

Other prime examples of these are the American Cancer Society and “Komen Race for the Cure” which, while perpetually soliciting the public’s private donations to fund the “search” for a “cure” and managing to escape scrutiny from legal probate or any semblance of a financial audit, have collected untold billions in profits, profits which, in turn, fund the continued manufacture and distribution of mammogram machines produced by companies like General Electric owned and operated by shareholders of the thirteen, ruling elite Jesuit families (dedicated to the promulgation of population control/eugenics programs advocated by UN Agenda 2030 and corporate CEO’s like Microsoft’s Bill Gates), machines which have been confirmed to emit lethal and dangerous levels of radiation and making, in essence, the cure worse than the disease it promises to effectively treat.

But that’s the point folks. For you see, the business of death is profitable.

Meanwhile – for decades – several patents for legitimate cancer cures utilizing sound/light frequency have existed, but these – perhaps, not so mysteriously – remain both dormant and perpetually hidden from the public.

Burr’s first major appearance in a major Hollywood film came when he starred in the Alfred Hitchcock directed Rear Window in 1954. Hitchcock, of course, is yet another character incarnation of our old friend and Hollywood mogul, Barry Diller AKA Prince von Furstenberg.

SEE: Hitchcock: a view through truth’s rear window

It seems, “Burr” had close professional ties with the chameleon-like Austro-German prince, Diller AKA Eduard von Furstenberg who, as loyal readers have discovered, has not only portrayed a number of major historical figures, but been the man hidden behind the carefully crafted masks of several Hollywood celebrities/television and film stars/film directors and music legends over a span of many decades.

SEE: Hoax factor: the real Bill O’Reilly

The man who went on to portray Perry Mason also starred in the American version of Godzilla, a role that would be reprised with the release of The Return of Godzilla in 1984. For his stellar nine-year (9/6 in occult mirrored reversal=33) tenure starring in the title role of Perry Mason, Burr was awarded two Emmys (twin masonic pillars of Boaz and Jachin), first in 1959 and, then again, in 1961.

Burr’s legendary television role would also go on to be reprised in 26 (2 6’s=12/21/777/intelligence joker code) made-for-television movies between 1985 (8+5=13/summit of the masonic pyramid) and 1993( 93/39 in occult mirrored reversal/12/21/777).

In terms of facial recognition, ear biometric, and image comparison analysis of Raymond Burr, it became quite evident lighting angles, strategically applied makeup, facial stippling, copious amounts of hair dye, well-studied physical mannerisms, and sub-harmonic vocal delivery, all served to well distinguish the character portrayal from Burr’s host actor, Rod Steiger.

Despite these distinguishing characteristics however, image comparison analysis between those of Burr and Steiger confirmed identical facial geometry in the area of the chin, lips, nasal cavity, and brow ridges. So too – despite copious applications of mascara and other makeup in the case of “Raymond Burr”- the comparative architecture of the eyes between Burr and Steiger was confirmed to be identical and, as well, the geometrical architecture of the ears.

Raymond Burr:

https://images.app.goo.gl/CjmQLuXtAZgnEpMg9

https://images.app.goo.gl/iC7qsSwmruBxN3dj7

Rod Steiger:

https://images.app.goo.gl./3mgoc4LUdwu1KgBM6

https://images.app.goo.gl/dbWxPU1W4VnkqWrs7

Turns out though – as alluded to earlier -“Raymond Burr” AKA Lou Costello/Rod Steiger’s former partner in the comedy duo of Abbott and Costello, Bud Abbott, went on to transition into the Hollywood character of Mel Brooks, after both he and his former partner, “Costello”, faked their respective deaths in 1964 and 1959.

Speaking of which, the “official” account of comedian Lou Costello’s death is – not unexpectedly – rife with both occult signifiers and numerological markers.

It is officially alleged, after shooting for his final film appearance, the 30 Foot Bride of Candy Rock – the only such appearance made without his comedic partner, Bud Abbott – Costello suffered from cardiac arrest and was immediately hospitalized in Beverly Hills.

Get this folks: a mere three days before his fifty-third birthday, it is alleged that, after consuming a strawberry ice cream soda and remarking to the attending nurse the treat was “the best I ever tasted”, Costello expired in his hospital bed.

As usual however, there are other sources that not only dispute the story about the timing of Costello’s comment regarding the strawberry ice cream soda, but – again, not surprisingly – there are still others discounting the dubious account altogether.

Certainly, there are those among one’s loyal readers who recognize the numerology coding exhibited by the official date listed for Costello’s death, but may also sense something amiss with the story of the ice cream soda, particularly the detail concerning the flavor – ‘strawberry’.

But first, let’s start with the moniker attached to Costello’s final film appearance – the 30 Foot Bride of Candy Rock.

Every one of one’s loyal readers and regular visitors – at least by now – knows the number thirty (the zero is omitted when summing gematria) is equivalent to the number 3, which is also a reference to the master degree of the masonic blue lodge and for those initiates who have performed the ritual of Hiram Abiff.

The double E – when reversed in the mirror image – equals the number 33, or the highest degree of Scottish Rite Freemasonry.

The ‘Bride’ is a reference to the “Lady in Red” or the goddess of Athena, who is also the goddess of both Wisdom and War.

Assuredly too, one’s loyal readers noticed Costello’s age was listed at 53, or 3 5’s, which not only equals the sacred Kabbalah sum of 555 (the Hanesher), but is symbolic of the eagle, or the concept of spiritual clairvoyance.

For those who’ve become especially astute, you probably also divined the occult meaning of the reference to the ‘strawberry’, which is symbolic of Venus, or the shining star of Heaven (Queen of Heaven), the feminine energy venerated by the masonic branch of the Eastern Star.

In Shakespeare’s Othello, Desdemona’s handkerchief was decorated with symbolic strawberries.

Historically speaking, it is also alleged that Anne Boleyn, the executed wife of King Henry VIII, possessed a strawberry shaped birthmark on her neck, an epidermal blemish which some claimed was evidence of – wait for it folks – witchcraft.

BLAZING SADDLES

From an occult perspective, the Hollywood music and movie industries are primarily utilized for two reasons: to make a profit, and to cast spells upon the public, spells which socially condition mass behaviors and inculcate the masses with revolutionary ideologies (order out of chaos) – both of a political and social nature – which solely benefit the hegemony of the thirteen, ruling elite Jesuit families.

For a time, at least, one of Hollywood’s most effective spellcasters was the renowned movie director/producer known as “Mel Brooks”.

While viewing the video clip displayed above, listen very closely to the audio nuances of Brooks’ voice, then, if possible, compare it with those of “Bud Abbott” in the following clip below:

It is alleged that William Alexander “Bud” Abbott was born on October 2 (12/21/777), 1897 to show business parents who worked for Barnum and Bailey Circus and, that while stricken with bouts of epilepsy for most of his life, fatally succumbed to a series of strokes in 1964 (10+19=29/2 9’s=2 6’s/occult mirrored reversal/12/21/777/intelligence joker code).

It is far more likely – given voice comparison, facial recognition, and ear biometric analysis confirm the former comedian “Bud Abbott” is the host actor behind the still-very-much-alive Hollywood film director Mel Brooks – the official birth date listed for Melvin Kaminsky AKA Brooks – 1926 – is much closer to the genuine date of birth for Brooks’ host actor, Bud Abbott.

Groucho Marx, of the legendary vaudevillian comedy troupe, the Marx Brothers, was rumored to have stated Bud Abbott was the ‘greatest comedy straight man of all time’.

In fact, when viewing most of the movies Brooks directed during the course of the 1960’s and 70’s, it quickly becomes evident the manic slapstick of his cinematic oeuvre directly derived from the manic nature of the vaudeville comedy act his host actor, Bud Abbott, developed with his former comedic partner, Lou Costello AKA Perry Mason/Rod Steiger.

Below, is a clip from one of the more heralded comedies Brooks directed and produced during the era of the 1970’s, a satiric spoof of the Western movie genre called Blazing Saddles:

Bud Abbott:

https://images.app.goo.gl/hxrXGdFkJ9Qw1Sr37

https://images.app.goo.gl/azxXihSdQo4X3qin8

Mel Brooks:

https://images.app.goo.gl/2T8RsQvXageNU9zw9

https://images.app.goo.gl/558V8xybmTyXZFHX8

 

 

 

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