3:8:24
Tweet on Biden’s State of the Union address, March 7, 2024
There is no such thing as a real face anymore in Hollywood, fashion, politics, or media, there is only mask technology. A hybridization of AI, deep fake, plastic surgery. Masks +, body doubles, clones, CGI, photoshop. UNCANNY VALLEY. I have been terming this simulation matrix mask-face, Mkultra face, and mask technology. Some call it “demon-face syndrome.” Celebrities in their 20s and 30s have their faces pulled so abnormally and artificially tight, they don’t look young, they look traumatized, spooked, petrified, Botoxed to death. But mostly, they look like they are in a trance, under a spell. Like they are programmed to look and act this way. Their faces have lost all real expression and interiority. I’ve been saying this for years—perhaps there really is no interiority left in these worlds, that’s why it looks this way. An outside face, not an inside face, which is what faces have always been. Miley Cyrus’ new face (she denies having had any procedures, of course. Gaslighting is always part of the mechanism of altering reality and making people and things unrecognizable) doesn’t look like a face, it looks like a mask. It has zero emotion. Zero soul. Zero intelligence. It mimics something real, something “beautiful,” something young and fresh. But it’s dead. This celebrated new video, in particular, is horrifying (how the hell is this considered music and fashion? How the hell did she win a Grammy?)—all the close-ups of her blow-up doll mouth and completely fake teeth (veneers), why? Is her mouth a portal? Another dimension? The abyss? Why are we being made to stare into the barrel of it?
When looking at Cyrus’s new eyes, I am reminded of Alex from A Clockwork Orange during his Luduvico Technique mind control (aka “Aversion Therapy”) sessions (recently, young pop-stars have been evoking mind control imagery and themes (alter egos) in their music videos, signing their life away for entrance into the false matrix world. Revelation of the method is always present). His eyes pried wide open, forced to look, suffer, even though it makes him sick. Are we Alex? Are we supposed overcome our instinctive aversion to the world we’re now living in until it looks and feels “normal” to us? Cyrus (if it’s still even her. What does it mean to be oneself in this era of clones, look-alikes, AI, and mask technology? Everything is replaceable, anything can be faked) pretends she has always had these eyes (her original eyes were very hooded and small. The teenage Taylor Swift also used to have hooded eyes before her blepharoplasty surgery) because we are a blind world that pays no attention and believes in the lies we are told and spreads the lies we see and hear. We can’t see what’s in front of us, and we are programmed to “like" whatever is put into front of us. Miley’s new eyes, like her new mouth and her new factory-made teeth, are eyes of terror and trance. The new mark of beauty is to look unreal, like a doll that comes to life in a horror movie. That’s what a pop-star (pop!) is now. A Chucky doll. But I’m also thinking of Tales of Hoffman and Freud’s Uncanny essay. And that other horrible story about what happens to exploited/farmed/kidnapped children and young stars, Pinocchio and its cyborg remake, Spielberg’s AI, which Kubrick wrote, a director whose films, if you watch them carefully, are almost always about child abuse. Child as technology, child technology, who becomes mask technology through Mkultra and collective sacrifice. Child as portal, like Poltergeist (1982). The TV in 1980s horror is a veil, a veil between worlds. To be a child technology, or a mask technology, or an actor technology means becoming an industry clone of whatever and whoever you, were minus the soul. The all-important soul, which is how and why something is worth listening to and watching, how and why a child is targeted to begin with, but also, having a soul is a powerful—the most powerful—repellant of and antidote to exploitation and corruption. It shields and protects, it is a spiritual forcefield, biofield. All the plastic surgery technology is a form of submission. A mark of submission. A symbol of an advancement. Looking made. Looking owned. Looking manufactured. Looking created. Looking handled (makeup, stylists, plastic surgeons, publicists, agents, producers). Skin does not look like skin, it looks like molded plastic. Lifeless. Like mask-technology posing and coded into a computer for a magazine, or appearing in a Selfie, imitating a human scrubbed of human, looking up at itself. Click. The Selfie is the epitome of AI, in love with imitation. The human filtered out by beauty filters (AI). A petrified face, like Cyrus’, as in motionless, frozen. As in compliant. The kind of mask or wide-eyed doll that arrives in a box and always looks the same and shows no signs of stopping or objecting or tiring. You cannot read her face. It is not programmed to fail, or express. It is programmed to succeed. And we mustn’t forget The Stepford Wives (1975): the wife technology. The destruction of the Divine Feminine by replacing her with the False Feminine (transhumanism), orchestrated by a secret Cabal of husbands. The Toxic Masculine. The first giveaway, the eyes. Joanna Eberhart’s go black. She’s not inside that “perfect” body anymore, that perfect body is inside of nothing. Reminiscent of Brailing and his interchangeable clone, Brailing Two, in Ray Bradbury’s 1949 short story “Marionettes, Inc.” In Bradbury’s Suburban dystopia, in order to be sexually emancipated, a husband must lead a double life, made possible through his robot look-alike. Husband technology. In Rosemary’s Baby (1968), an occult psychodrama, demon technology is mixed—spliced—with husband DNA, which is an acting technology. What Michael Hoffman calls occult technology (Hollywood).
A.I. (2001). The perfect-made child malfunctions and melts
Chucky Doll, Child’s Play, 1988
Danny, The Shining (1980)
Mattilda, Leon: The Professional (1994) (One of the most pedophiliac movies I have ever seen. I was shocked when I rewatched it a few months ago. Look into the director, Luc Besson (his marriages), and the film’s deleted scenes, which Jean Reno objected to).
The message is clear in 2024: you can be famous and rich if there is nothing left of you. If you let us gut you and replace you. Scoop everything out of you. Torture you. Like Alex in A Clockwork Orange, we are forced to watch Ultraviolence and degradation and like it. It does not make us sick anymore. We lost that mechanism of disapproval and discernment. The mask technology of Ultraviolence pretends to be human. Pretends to be beauty. Pretends to be art. Pretends to be talented. Pretends to be moral and equitable. And nice. Just remember: you can simulate anything now. But that does not make it real or true.
What if truth were the transmutation technology and not acting?
A few people do see still see things though, do notice. They see all the way through. And they don’t like it. They can’t stand it. It hurts. Other than that, the false occult matrix is a Scooby Doo world. Don’t you wish someone would pull all the masks off the goblins and ghouls already?
A strange Solar-themed dress, too. Very Babylonian.
Alter egos are essential to mind control, the psyche is fractured and split. Many singers especially have multiple personas and stage personas—Beyonce’s “Sasha Fierce”—and actors, of course, play alter egos (roles) for a living. They are paid to dissociate.
