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exorcist

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The author, Donny Ahzmond, explores the alleged real-life basis for The Exorcist book and film, starting with the case of Anna Ecklund in Earling, Iowa. The author questions the reported exorcisms, citing discrepancies in dates and the duration of Father Riesinger’s involvement. Further doubt is cast on Ecklund’s identity, with conflicting accounts of her real name (Emma Schmidt, Hulda Emma Schmidt, Eva Mary Bott) and death date. Despite claims of her case being well-documented, even in Time magazine in 1936, basic biographical facts remain unclear, including her father’s name (Jacob Schmidt vs. Eduard Schmidt) and birthplace (Milwaukee vs. Thurgau, Switzerland vs. East Coast). The author suggests connections between the individuals involved are being hidden, citing Emma possibly meeting Father Riesinger 14 years before her first exorcism in New York in 1898.

Father Theophilus Riesinger is presented as a suspicious figure, with speculation about his possible Jewish heritage and rejection from Bavaria seminary before his ordination by Archbishop of Milwaukee Frederick Katzer. His “exile” to the Capuchin Order in Wisconsin due to “controversial interests” is interpreted as his superiors suspecting him of being an anti-Catholic agent. The author notes that Ecklund was brought to Earling, Iowa for the exorcism from “east” of the town, possibly Michigan, and that no locals could corroborate her condition prior. The choice of Father Riesinger and Earling for the exorcism is deemed illogical, especially since Bishop Thomas Drumm of Des Moines entrusted Riesinger with the case, and Bishop Drumm later confirmed inaccuracies in Riesinger’s account. A nun, Sister Leta, from the Earling Catholic school, dismissed the exorcism as fiction and stated nothing unusual happened in the room.

The author further questions the use of Anna Anderson’s photo as Emma, suggesting it’s a clue that the exorcism story is fabricated, similar to Anna Anderson being an imposter and the alleged survival of the Romanov children. The text also discusses the case of Roland Doe, who was later identified as Ronald Hunkeler, and allegedly underwent an exorcism in the late 1940s at Georgetown University Hospital in Washington D.C.. Hunkeler reportedly worked for NASA at the Goddard Space Flight Center for 40 years. His family connections are mentioned, including a schwab aunt and a Hendricks aunt, and his grandfather Joseph Hunkeler was part of the Order of Owls. The priests involved in his exorcism are identified as Jesuits, described as a “crypto-Jewish organization.” Hunkeler himself allegedly stated he was not possessed and the events were “concocted.” Wikipedia is cited as admitting the information about Roland Doe is largely hearsay and undocumented, with no evidence of Father E. Albert Hughes’s involvement.

The author then focuses on William Peter Blatty, the writer of The Exorcist novel and screenplay, linking him to the Psychological Warfare Division of the U.S. Air Force and the U.S. Information Agency in beirut, implying his work was propaganda. Blatty’s potential Phoenician/Jewish heritage is suggested through his great-uncle Germanos Mouakkad, bishop of the Melkite Greek Catholic Archeparchy of Baalbek, and the history of Baalbek. His surname is speculated to originate from Lombardy, Italy and Switzerland, regions associated with Jewish banking. His paternal grandmother is identified as Selma Monkad, potentially a variant of Munqad or Moncada, linking him to the Spanish House of Montcada.

Finally, the author touches upon John Howard Carpenter, director of the Halloween films, suggesting connections to British peerage through his Carter, Baldwin, Root, Nelson, Loomis, Leonard, Morley, Judd, and Spencer lines, and further tracing back to Stafford, Woodville, Hervey, Drury, de Luxembourg, Beaufort, FitzWallace, FitzAlan, Beauchamp, Neville, Percy, Plantagenet, Wentworth, and Howard. Tim Dowling is named as his genealogist. The author also suggests John Carpenter is related to the singing duo The Carpenters, as Tim Dowling also maintains their ancestry, which includes Nash, Sherlock, Isaac, Schmidt, Short, Tatum, Briggs, Conley, Marsh, Guyton, knox, Underhill, and Underwood, leading to the conclusion that The Carpenters were Jewish and British peers. The author concludes that these horror films and their supposed “real-life” stories are “fear porn” designed to induce anxiety and increase profits and control by “overlords.” The author also claims these films are targeted at women as part of Operation Chaos/Men-are-Pigs to exploit their impulses.

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