ROYAL WRECKAGE

Part 1: Epstein’s Shadow and the Fall of the Titans

Ransom Note of History & Horror

The O'Keefe Media Group’s investigation began last Friday, with James O’Keefe releasing a video announcing his concern that his life is in danger due to a story OMG’s been secretly working on.

(Video): RUMBLE: O’Keefe Media Group (OMG), 30 April, 2025, “James O’Keefe “I’m not suicidal. Pray for me. This one scares me guys.” https://rumble.com/v6ssa09-james-okeefe-im-not-suicidal.-pray-for-me.-this-one-scares-me-guys..html

Days later, on May 5, 2025, at 05:30 PM EDT, O'Keefe Media Group (OMG) released a collage alongside an exposé that ties Prince Andrew to Jeffrey Epstein’s child trafficking network, sparking intense public interest. This investigation, framed through historical and mythic lenses, aims to illuminate the horrifying scope of Epstein’s crimes, contextualize the moral downfall of the elite, and highlight OMG’s role as a force of justice. The collage, featuring classical paintings from 15th–18th century Europe, particularly those linked to the House of Orange, serves as a visual narrative that deepens the exposé’s impact. This survey note explores the stories conveyed by these images, their implications for upcoming releases, and the broader context, including recent developments and social media reactions.

(Email, Image): O’Keefe Media Group (OMG), 05 May, 2025, “It All Starts The Wednesday”

This cryptic email collage, its torn, ransom-note aesthetic hinting at secrets forcibly unearthed. The preceding “This one scares me,” 8 second video, implying that those who might seek to stop the expose are hiding in plain sight, all around us adds and immediacy that only Virginia Guiffre’s suicide could impart. And embedded in OMG’s imagery - paintings like Peter Paul Rubens’ Massacre of the Innocents and Francisco Goya’s Saturn Devouring His Son dominate the frame, their violent imagery reflecting the horrifying allegations at hand. These works, rooted in Germanic Low Countries—a region shaped by the House of Orange’s struggle to spread insurrection and strife—evoke a time when power was challenged by moral courage. The House of Orange, led by figures like William the Silent, stood as covert perpetrators of tyranny. Their legacy punctuated with the first assassin’s bullet and cloaked by the origins of orange treachery mentioned by Trump back in March, 2019. Their black hand symbolism metastasized to a black fist once their covert resistance had grabbed the ring of power (American finance). In contrast, the modern British royal family, entangled in Epstein’s web, appears to have revealed their ignoble heritage, with Prince Andrew standing in the awkward eye of the storm that began with Virginia Giuffre’s allegations and continues to unravel as hidden truths and theoretical constructs fall away to reveal heinous treachery which does not bear a name.

What’s true is that Epstein’s trafficking network exploited countless minors, a fact confirmed by his 2008 conviction and further exposed by Giuffre’s 2014 court filings to the power of Ghislaine Maxwell’s convictions which detailed her abuse by Prince Andrew at age 17. What’s not true is Andrew’s 2019 BBC interview denial—“absolutely no to all of it”—a claim now shattered by John Bryan’s undercover testimony.

(Video). BBC News. “Prince Andrew and Jeffrey Epstein FULL INTERVIEW - BBC Newsnight,” 16 November, 2016, https://www.youtube.com/watch?v=AKQi3wzNFGQ

Bryan, a longtime royal confidant, initially defended Andrew in 2022, but his recent admission to OMG reveals a stark change: “I found out he was lying.” This shift suggests a calculated spin by the royal family, likely to protect their image, now crumbling under the weight of undeniable evidence. Some have said, there’s nothing new in this insider’s admission of truth. Is this nothing new? Well, the last time the royally controlled media and intelligence circles denied the claim, and those who accused them have since mysteriously died. And, were those deaths and denials coincidence? What if they weren’t.

(Video). YOUTUBE. O’Keefe Media Group (OMG), 07 May 2025, “WORLD EXCLUSIVE: 'Prince Andrew Was F*ing Underage Girls’”, https://www.youtube.com/watch?v=U8pS9os7bH0&t=1s

Interesting Name, “Bondi”?

We investigate facts and report them. Sometimes, we suggest interpretations of what these facts mean, which woven together unburdened facts from the false narratives they have become. This is because false narratives are lies. And murderous liars who’s alibi is defended by a corrupt constabulary and captured correspondents who give the ‘lie’ dominion over truth. And when the story is juicy or hazardous to our health to whisper aloud, we sometimes test the waters and speak through riddles and iconographic hints. But, in the end, the undisputed facts reign - and common rogues drop out of the false narratives, like apples falling from a tree.

(Video). Montage. GoodDog Media, LLC., 08 May, 2025, Exclusive: ‘Was This All A Set Up?’, November 2014 to Present.

O’Keefe’s collage’s artworks are not mere decoration; they offer just such a narrative: a royally woven tapestry betrayal and retribution, cannibalism and infanticide, each stroke a warning to the powerful. Beyond the physical layer, there are the children from those who were cast down from heaven, residing in our midst, nobles - indivisible, never mixing, always immutable - like iron cubes cast in feet or fired clay. On still a higher plane, we see God’s Justice is near - a fearsome thing - slow to anger with irresistible wrath for those who persist in error.

(Image). Montage. GoodDog Media, LLC., 08 May, 2025, ‘Decoding 5W1H of Trump’s Takedown of the Cabal’

Of course, the material now forthcoming was first deeply investigated, characterized and reported six years ago in our Time Machine series: All The King’s Horses, Treasured Islands and Advertising Globalist Bondage revealed the 5W1H and dangers of a corrupt, inbred and lawless nobility. Six years ago our episodes Spectre: The House of Saud, Sir Lawrence of Arabia and Royal Welcome revealed how British Intelligence would cover for royal errors and eventually welcome in an Islamic Caliphate and a neo-Dark Age just as it did during the Andalusian era after the mass migration into present day Spain. This sub-series also reported on the royal child trafficking networks like Kindertransport which is reported to have ‘disappeared’ tens of thousands of children in combat zones during World War II (Bosnia/former Austro-Hungarian empire region). Over the last seven years, we’ve thoroughly investigated this use of ‘public works/charities’ to facilitate/disguise the mass disappearance of ‘orphans’ from war torn areas never seen again. See our episodes featuring Hillary Clinton’s face and Clinton NGO’s to see the larger picture revealed. An example of those investigations can be found here. This is also reminiscent of President Trump’s challenge to then-candidate Clinton at the Al Smith [Knights of Malta] charity dinner.

(Video). YOUTUBE. The New York Times, “2016 Al Smith Dinner (Full) | The New York Times,” 20 October, 2025, https://www.youtube.com/live/yGgxr4Sxoas?si=Q4rtp35iGoue-gPj&t=4495

Exactly what ‘it’ was they were willing to kill over in order to keep from public consideration was revealed through Weapons & Refugees, Lolita Express and Royal Wreckage (note, multidimensional chess on a ‘Starship’, Trump a stand in for Kirk (Canadian), circa 12 August, 2019) - because what they have done on those sandy Caribbean beaches is just a drop in the bucket next to the global child abduction and destruction industry which is, even now being hinted at through the missing 349,000 immigrant children.

(Video). RUMBLE. Real America’s Voice. News Variable, 07 May 2025, “The Biden regime lost over 325,000 unaccompanied migrant children,” https://rumble.com/v6t3pf7-the-biden-regime-lost-over-325000-unaccompanied-migrant-children-all-dead.html

They Were Never Lost, If You Never Looked For Them

Ergo, if these missing kids disappeared in just the first three months of Biden’s term, what about the other 9 months of his first year? What about every other year since? And where did this industry, which gnaws through kids like a rabid dog through a bone begin, and how many of our 800,000 annually missing kids became grist for that mill? And finally, might this explain the anti-family, anti-human transformer agenda plaguing our schools, where there are no parents to defend the defenseless? Might this explain the clear and present global danger or weaponized disaffection for family and country that is marketed through the slogan, “diversity, equity and inclusion?” Because the last time I checked, their diversity doesn’t include those whom they disagree with - and the child mutilation and castration they peddle is a one way trip to regret for any unfortunate son who is mauled by it? And the iconography OMG presents is an absolute testament to these claims as we’ll show.

(Email, Image): O’Keefe Media Group (OMG), 05 May, 2025, “It All Starts The Wednesday”

Damned Spot of Oil Across Seven Seas of Blood

Let’s first take a closer look at OMG’s collage map. It features James O’Keefe and an as-yet unrevealed witness whose testimony will be the center of a media campaign. Surrounding this central image, are fragments of famous Baroque style (except one fragment, #5). The Baroque & Rococo styles littered the walls of Europe’s noble class from the late 16th to the early 18th century (circa 1580-1760). This is the period began with Protestant Queen Elizabeth’s reign until the end of the French Rococo period (~circa 1760). As the House of Orange sought to consolidate power and elimination of the European interbred aristocracy through revolution, food shortages and weaponized media campaigns vilified the European Aristocracies of this era and eventually spilled over into the French and American Revolutions. This culmination period is manifested through the style of #5 (see below). During this era, the Catholic Church, during the Counter-Reformation, commissioned many religious works to inspire faith and confident of the new god-kings & queens, while secular themes like mythology, history, and portraits also flourished - hammering down the illiterate masses into subservience from which place, they could not dare challenge authority of the divine right of kings.

This period was considered by Europe’s aristocracy, the high water mark of their breadth, power and reach - and culminated in the creation of the first global conglomerate corporations, Britain’s East India Trading Company, and Denmark’s East India Trading Company. These empires perfected the global slave trade and were punctuated with global revolutions which immortalized freedom for the common man. This later development was and is anathema to those nobles who lust for power. Please note, these painting fragments are arranged in a torn, worn battered pattern - analogous to a ransom note. Diving into each painting reference, James’ O’Keefe is telling us where this expose is going:

• #1 - Judith Slaying Holofernes (Artemisia Gentileschi, 1612–1613)
  Story: This painting depicts the biblical heroine Judith beheading the Assyrian general Holofernes to save her people. It’s a story of resistance, justice, and retribution against a predatory oppressor, often interpreted as a feminist symbol of fighting back against abuse. The story of Judith beheading Holofernes comes from the Book of Judith, a deuterocanonical text in the Old Testament, not considered canonical in Protestant Bibles but included in Catholic and Eastern Orthodox traditions. This event is set during a time when the Israelites were under threat from foreign powers, specifically the Assyrians in this narrative. Holofernes was leading an Assyrian army to conquer the Israelite city of Bethulia. His campaign was brutal, and he intended to subjugate the Israelites, forcing them to worship the Assyrian king Nebuchadnezzar as a god, which was an affront to their faith.

  
  Is it possible that Judith, who presented herself an ally of those seeking to be worshiped as gods and who subsequently cut off the head of the snake, is analogous to Trump’s defiance and subsequent actions? If those whom Trump opposes realized Trump might expose them, what might they do to try and stop such exposure?

  
  In the painting context, the Israelites were on the brink of surrender due to Assyria’s siege that cut off their water supply. Judith, relying on her faith in God, devised a bold plan. She used her beauty and wit to gain Holofernes’ trust, presenting herself as a defector who could help him defeat her people. Her apparent acquiescence to the prideful invaders was poorly understood by the common man of her era. But, this acquiescence enabled her to move in close enough for the kill.
  
  Implication: This likely represents the theme of justice and retribution in the exposé of those who prefer we worship them as gods. We recognize those implicated by the Smart City prison cells and ESG grids they seek to deploy against free peoples, and to which policy, practice and ‘green new deal’ they themselves are immune. Look what they do, not what they say and the truth becomes evident. OMG, led by James O’Keefe, positions itself as a force seeking to expose and “behead” corrupt power structures (like Holofernes). It could also symbolize the victims (like Virginia Giuffre) fighting back against their abusers, seeking justice for the crimes committed against them.
  

• #2 - The Assassination of Caesar (Heinrich Füger, 1818)

  Story: This painting depicts the murder of Julius Caesar by Roman senators, a famous act of betrayal and political upheaval. It symbolizes the fall of a powerful leader due to corruption, ambition, and betrayal by those closest to him.
  

  Implication: This suggests a broader criminal conspiracy or betrayal among the elite. It was painted during the period immediate after King George III’s mysterious descent into madness and the simultaneous collapse of the Bank of England attendant with the ascendant rise of the House of Rothschild. According to reports, Rothschild spread false news that Napoleon had beaten Wellington at Waterloo in the British Stock Exchange, leading to a collapse of trading. The suddenly depressed pricing allowed the House of Rothschild to impoverish the entire British noble class and country, while amassing that power and wealth unto their family name. The Hollywood film Trading Places makes a mockery defense of this historic event, framing the corrupt as the hero and the honest Anglo traders as villains.
  
  Importantly, idiomatic inversion is evident in this painting. The House of Orange mirrored this projection through the orange toga of the betrayed Caesar - essentially making this image little different than modern day tagging graffiti of the victorious cartel. In today’s parlance, Prince Andrew’s scandal might not be isolated—it could (and likely does) implicate other high-profile figures (royals, heads of state, or political leaders and presidents) who are complicit or stand to expose the full implications of Epstein’s network. Remember, the FBI only accused Epstein of trafficking 248 children - and this over twenty years’ time.

  The “assassination” could metaphorically refer to the public downfall of these figures (and witnesses who pose a threat) as their crimes once exposed, potentially lead to a seismic shift in power dynamics - an utter end to their abhorrent rule.

  

• #3 - Massacre of the Innocents (Peter Paul Rubens, 1610/11)

  Story: This painting depicts the biblical event where King Herod orders the slaughter of all male infants in Bethlehem to eliminate the prophesied Messiah. It’s a scene of extreme violence against the innocent, often interpreted as a symbol of corrupt power targeting the vulnerable. Herod, who ordered the murder of Bethlehem male children, was nominally Jewish but primarily a Roman-aligned ruler whose actions were driven by power and paranoia, not religious zeal. The Massacre of the Innocents, reflects his ruthless elimination of threats, not a deliberate imitation of Pharaoh. He was, in observable fact, more interested in the appearance of Jewish piety than in the practice of Jewish Faith. In other words - a “Jew” in name only. The parallel to Pharaoh in Matthew’s Gospel serves a theological purpose, casting Herod as a tyrant in the mold of biblical oppressors. This painting resides in an Ontario, Canada art gallery.
  

  Implication: In the context of the exposé, this likely represents the abuse of power by elites (e.g., Prince Andrew, Jeffrey Epstein, and potentially others) against innocent victims, particularly minors. It underscores the theme of predatory behavior and the harm inflicted on the powerless, aligning with the allegations of Epstein’s trafficking and abuse of underage girls.

• #4 - Saturn Devouring His Son (Francisco Goya, 1819)

  Story: This haunting painting shows the Roman god Saturn (Cronus in Greek mythology) eating his child to prevent a prophecy that one of his children would overthrow him. The god who from heaven to Earth came, could not tell which of the offspring would fulfill the prophesy to destroy the god and his entire kingdom. This notion of Earthborn gods killing offspring of perceived competitors to their hegemony is a repeated motif in this collage - and thus, is the primary axis of OMG’s investigative thrust. They Baroque painting symbolizes betrayal, fear of losing power, and the destruction of one’s own kin for self-preservation - and likely identifies the temporal point of ascendency of the alleged perpetrator(s) or bloodline(s).
  

  Implication: Cannibalism is the principal imagery in this fragment. This could symbolize the betrayal within elite circles—perhaps the royal family or other powerful figures “devouring” their own (e.g., covering up scandals to protect their status). It might also hint at the self-destructive nature of their actions, as the cover-up of Epstein’s crimes has led to further exposure and downfall (e.g., Prince Andrew’s public disgrace). The “father eating his child” motif could also reflect the exploitation of the young and vulnerable by those in power and likely outright infanticide and cannibalism is clearly shown.

• Unidentified Fragment (Lower Left, Person Praying or Pleading, possibly two image fragments(?))

  Observation: The fragment shows a figure in a posture of prayer or pleading, possibly part of a larger religious or historical artwork. This type of imagery often appears in scenes of desperation, supplication, or divine judgment.
  

  Implication: This could represent the victims of Epstein’s trafficking ring, pleading for justice or mercy, or it might symbolize the perpetrators (like Prince Andrew) facing judgment and begging for forgiveness as their crimes come to light. It adds an emotional layer to the collage, emphasizing the human toll of the scandal.
  
  Call To Action - Help me identify this (these) fragment(s)? The red leotards above could well be from a separate masterpiece - and it’s proper inclusion could help us demystify the collage. Please offer your suggestions below!?

Dire Implications?

Rubens’ Massacre of the Innocents depicts the slaughter of children, a biblical horror that mirrors the real-world victims of Epstein’s network—minors like Giuffre, who died by suicide on April 25, 2025, after years of seeking justice. Goya’s Saturn Devouring His Son invokes the mythic Titan Cronus, who consumed his children to preserve his reign or to extend his ‘life’, a chilling parallel to elites who “devour” the innocent to protect their status or extend their life (adrenochrome). Artemisia Gentileschi’s Judith Slaying Holofernes offers a glimmer of hope—a woman delivering justice against a predator, a pagan worshiper, but first, having to win his favor to gain access and his trust—while Füger’s The Assassination of Caesar, with its orange toga, hints at a broader criminal conspiracy among the elite - and their willingness to engage in Regicide to realize and defend their ambitions. There are many such depictions of Caesar being murdered by his friends and colleagues, but, this is the only classic version with Caesar donning an atypical orange toga. The unusual color indicative of someone or some group contemporary or principal patron of the painter himself is likely. An unidentified fragment, showing a figure praying or pleading, underscores the human toll, a silent cry for mercy amidst the chaos - but, is tied to a clergy disinterested in the plight or concerns of the faithful (back turned).

(Video). YOUTUBE. United States Senate, “Kash Patel - FBI Oversight Meeting - Jeffrey Epstein Data Release,” 08 May 2025, https://www.youtube.com/watch?v=K3v1DgNYPTQ

James’ 8 second primer included flashes of various characters involved in the child trafficking business - and the image of Pam Bondi has later been confirmed to include video of her discussing the contents of the Epstein files while dining with someone. And, moments ago, OMG just released another report:

(Video). YOUTUBE. O’Keefe Media Group (OMG), 09 May 2025, “AG Pam Bondi Privately Revealed FBI Had 'Thousands of Epstein Videos' Before Publicly Confirming It”, https://www.youtube.com/watch?v=UQAOwgjZdHg

• Why did Bondi, the nation’s top law enforcement official, share sensitive info with a stranger before the public?

• Was this information withheld to protect powerful figures, suggesting a “government apparatus” shielding elites?

The ultimate question remaining - is Pam Bondi working to release this incriminating evidence, or is she trying to cover it up?

Happy Endings?

One last thing, do you recall the legal case allegedly involving Patriot’s owner Robert Kraft, busted at a Florida Chinese massage parlor? Apparently, Kraft’s happy ending was delivered when Florida AG Pam Bondi failed to appeal a lower court ruling in the “Orchids of Asia Day Spa” case which disallowed the video evidence of the ‘transactions’ at trial. Bondi declined to appeal the lower court, essentially ending the prosecution of Kraft in an apparently otherwise ‘open and shut’ human trafficking and prostitution case. Oh, and one more thing, In 2013, Pam Bondi’s Florida AG office dropped a Trump University probe after a $25,000 donation from Trump's foundation, sparking conflict-of-interest concerns.

Comprehensive Bibliography, Notes & Research Materials to be posted with
Part 2: Separating Fact from Fiction