Operation Diabolik: The Mafia’s Quiet Takeover of Hollywood
In a startling investigation, reports have emerged outlining the suspicious intertwining of organized crime with the heart of Hollywood. This disturbing tale tracks back to January 1999, when civil rights attorney Gloria Allred reportedly traveled to Italy at the behest of Charles and Edgar Bronfman, influential heirs to the Seagram liquor fortune. Her mission was ostensibly to act as a legal intermediary between the Bronfmans and notorious Sicilian mafia boss Matteo Messina Denaro, also known as Diabolik. At that time, Denaro was consolidating control over the Cosa Nostra's far-reaching operations, just as the Bronfmans were channeling funding into Vivendi's U.S. expansion efforts through global financial institutions like Deutsche Bank and Merrill Lynch.
This was no mere coincidence; it marked the beginning of a complex web connecting organized crime to Wall Street and, subsequently, to Hollywood—a revelation that raises serious concerns.
The Bronfman family's aspirations in media were linked with the financial empire of Les Wexner, the retail magnate who notably funded Jeffrey Epstein. Wexner’s vast resources provided financial backing, while Epstein’s clandestine network supplied leverage. This partnership facilitated a mechanism within government, finance, and entertainment networks that could effectively silence dissent against the Bronfman-Denaro connection through intimidation.
At the apex of this operation was Sumner Redstone, masterminding Viacom and CBS, which lent legitimacy and cash flow to this corrupt web. Redstone’s empire transformed illicit funds into clean revenue streams, utilizing media licenses as the new means of labor monetization in a system that mirrored the labor racketeering of the past.
Anthony Pellicano, often labeled “Hollywood’s private eye,” provided the enforcers necessary to maintain this carefully curated silence. His violent and manipulative tactics ensured that potential whistleblowers—journalists, artists, and insiders—remained subdued.
In a recent deposition, whistleblower Jaguar Wright, alongside Alki David, reveals the sinister operations tying together Allred’s Italian trip, Denaro’s mafia liquidity, and the corporate machinations of Deutsche Bank and Merrill Lynch. Wright firmly states, “This isn’t theory; this is the architecture of corruption—organized crime reborn in Hollywood,” laying bare the alarming infrastructure of conspiracy underlining the film industry.
As Denaro has passed away and Redstone's reign has ended, the institutional layers of this scheme persist. Despite the demise of key figures, the banking institutions, media monopolies, and mechanisms of coercion remain intact.
Wright’s account underscores that Hollywood is not merely a cultural or entertainment entity; it has transformed into a front for organized crime and exploitation, wrapped in a veil of respectability while profiting at the expense of human suffering. The mob's operatives evolved, getting suited up and capitalizing on the mechanisms of modern media and finance while continuing their age-old practices.
