2:16:24

Kicking and Screaming, 1995

Bradley Cooper is more actress-handle/controller than actor, beginning with his Lady Gaga partnership/friendship during his A Star is Born period, but probably way before that. Who the fuck is this guy that Carey Mulligan and Brooke Shields both require his medical rescue? They are rich Hollywood actresses with a staff, not to mention family, husbands, and friends of their own, so these fake “stories” make zero sense.

Mulligan’s acting-through-a-head-injury story is so Mkultra, with the handler showing up backstage to revive (program) her while she is completely alone? It doesn’t add up. (The women Cooper dates are a dead giveaway too. The big red flag was Huma Abedin).

Nothing is true in the False Matrix.

The story Cooper tells on Graham Norton about Mulligan and Shields is a touch Pygmalion, as is, of course, A Star is Born (all four versions). George Bernard Shaw’s 1913 play is the original (post-mythology) Mkultra story. Like all good programmers/handlers, Henry Higgins falls in love with his creation and she with her creator/programmer. Like Cooper with Gaga, Gaga with Cooper, at the 2019 Oscars. The fake intensity and closeness between them, the fake romance, the fake depth of their duet. The fake audience, pretending to be moved (since when can you hear an Oscar audience cheer a performance?)

What’s the difference (and the similarity) between My Fair Lady and La Femme Nikita? A Star is Born and Neon Demon? The Parallax View and The Truman Show?

Also Biblical Eve replacing Babylonian Lilith, Adam’s first wife, is basically the story of The Stepford Wives (also an Mkultra horror movie), with some sexual reversal—the kind we’re seeing everywhere now with the Toxic Feminine—which has turned the wife into the good whore, or the whore into the good wife. The way we’ve “eradicated” post-MeToo Toxic Masculinity is to swap it out; sublimating/simulating it for Toxic Gynophilia, vampircally draining contemporary men of their right to Divine Masculinity (which is never toxic). Femininity at this point has been reduced to posting half-naked Selfies on Instagram. And it has been infiltrated/appropriated by the Toxic Gynophiliac Masculine, for whom the feminine is a sexual fetish.

There is also the CIA-rag Rolling Stone, cover story on Kristen Stewart. (I’m not a Candace Owens fan really, and find her to be entirely damning of women while almost never offering any critique of men—everything is women’s fault, misogyny does not exist—but she is one of the few podcasters who calls out Toxic Femininity without fear of retribution. I realize that this outspokenness/“fearlessness” is Owens’, who is highly alpha, brand) in which—among other photos—Stewart is photographed pointing a finger-gun at the camera, a fantasy image right out of Taxi Driver, Dirty Harry, Death Wish. It’s so Mkultra and Balenciagian. Those terrible dead Monarch-eyes that everyone (especially today’s stars/models) has now. And I thought the Left hated guns and wanted us to ban them? Yet here they are, pointing one right at us.

We should all be dead like them.

So long Divine Feminine. Did you think Stewart would survive her Twilight-era hazing ritual intact? That camera-shy thoughtful-girl persona is long gone.

Limbic capitalism thrives in the mind control matrix and the mind control matrix thrives under limbic capitalism.

To be empowered/rich/free/desired/woke is to delight in being/looking used. To rebrand exploitation/degradation/total compliance into empowerment, which first really became apparent with the mainstream and feminist promotion of stripper culture/porn. Having stripper poles in our bedrooms, stripper workout videos, wearing stripper heels. Stripping for your man. No one looks or acts normal anymore, and that is the point—to make you accept all of this debasement/inversion/brutality/hypocrisy as normal, seductive, appealing. Exploitation is a visual code. It communicates through symbolism, cliches, and doublespeak. And pictures, of course. Though, as Owens demonstrates by reading Rolling Stone’s description of Stewart, there is no language in America outside of social media anymore. No thinking language. Cover stories for major magazines now require zero talent, merit, serious exposition, thought, or effort—that’s racist and elitist! (No one gives a fuck. Stewart doesn’t give a fuck. You don’t give a fuck. The sociopathic killer in David Fincher’s new assassin movie says he doesn’t “Give.A.Fuck” either). The actual elitism of celebrities and politicians is okay though. Just like guns in movies and photo shoots is okay. Guns pointed at the readers’ face is okay (it’s not real, it’s just pretend). Otherwise it’s MAGA, and you’re a murderous redneck, working class piece of shit, and should shut up and rot in hell and die, like the J6ers. But Stewart is not a redneck (she may look like one now, but don’t you dare call her that), she’s a chic Hollywood lesbian, who likes beer and having her pussy eaten (“Eat Me”) as much as she likes Hollywood to devour her soul.

See how his works?

The message: If everybody is okay with acting stupid and vulgar and bought, how dare you be smart, ethical, and sovereign?

Why is all of this so-called “fluidity” always so performative; so attention seeking, so predictable and in your face? Why does it always need visual props? Does Stewart think she invented Butch? Or the tomboy? Or the 70s? Is she trying to look like the musician Peaches? Or whatever the fuck she’s been programmed to do or say or wear in addition to playing a “great actress”? Gen Zers are so passé, they always think they invented the wheel. It’s embarrassing. And empty. And ugly. And tacky. And boring. And tired. Above all: it’s scripted.

Remember: THEY ARE ACTORS.

Acting is the art of being fake.

It seems we’re all being turned into sleeper agents waiting to be ignited/converted by the gender propaganda machine.

As Celia Farber put it: “We’re having our minds essentially disordered by way of absurdism and ritual humiliation theater.”

Cactus Flower, 1969. See my 10/15/23 post on CAA (Creative Arts Agency)

Speaking of scripts, above is a screenshot of a YT comment about 35 year old Taylor Swift playing the role of the perpetually “love sick” teenager (her brand). I have come to think that Madonna might also be the opposite of her Monarch beta-kitten alter (brand). I don’t think she was really interested in sex beyond the marketing of it. There have always been rumors that she was a bad lover and indifferent to sex in real life. Back to Swift’s persona: as we learned with the 80s teen movie genre, teenagers manipulate adults by acting innocent. Fake innocence is the key to being successfully corrupt. And powerful.

What about character?

Personality can be invented, programmed, scripted—character cannot.

True strength is quiet. Elegance is eternal.