Top Ten Hollywood MK-Ultra Victims

I’ll name ten Hollywood starlets and give reasons why I believe they could be MK-Ultra victims.

One of these ten women could be an MK-Ultra victim. Or five might victims and five aren’t. Maybe all ten are victims. I don’t know. The important thing is if this sort of thing goes on and Roseanne Barr is telling the truth, the CIA and MK-Ultra rules Hollywood. If even one of these women are a victim then justice needs to be served and secrets brought to light.

#1. Angelina Jolie

Angelina Jolie Shh

Angelina Jolie likes to cut herself. Cutting is usually a sign of some sort of abuse usually physical or sexual. She seems to be in Omega mode lately in the tabloids. To slowly kill yourself is known as code green. Angelina Voight has been cutting herself like a Virginia Ham on Thanskgiving. That was the line Angelina used when she confronted the now dead Brittany Murphy on her cutting in Girl Interuppted.

Angelina Voight shills for the United Nations World Government. Her Father is a shill for Israel. She seems to be estranged from Jon Voight because of the Illuminati. In Tombraider the only lines she ever shared with her Father onscreen was about the Illuminati. The Illuminat are the ones creating these mind controlled slaves through their intelligence agencies.

Angelina was in The Good Shepherd a movie about the CIA. She seemed to be specifically picked for the role because the Skull & Bones secret society and their control of the CIA and their work in mind control. I think Robert Deniro suspects she is one of the women at Rothschild’s parties like in the movie Eyes Wide Shut. Angelina has good reason to be paranoid and mentally ill while she’s surrounded by people from organizations like the CFR and the United Nations.

That picture of her with a horse is just not right. She is #1 MK Ultra victim for sure.

#2. Demi Lovato

Demi Lovato

Demi Lovato is another cutter with mysterious mental problems like Angelina Voight. I think the diagnosis is bipolar. She was raised by Disney like Britney Spears. She hasn’t shaved her head but she was in Princess Protection Program which reminded me of Eyes Wide Shut. What if she isn’t bipolar but a Monarch slave that needs programming from time to time from her handlers? I don’t trust the Disney company. It seems to draw pedophiles who want to work with little kids.

#3. Britney Spears

Britney Spears

Britney Spears also has mental problems and used Monarch symbols in alot of her videos. She was also raised by Disney. There are alot of videos on youtube about Britney’s mind control. K-fed said he suspects she is a multiple. She goes into different voices for different personalities. Everyone remembers when she shaved her head while wearing the 666 star of Solomon.

#4 Miley Cyrus

Miley Cyrus Shh

Miley Cyrus is even raunchier than Britney. I think she gives President Clinton blowjobs.

#5. Nicole Kidman

Nicole Kidman

Nicole Kidman’s father died amid pedophile allegations. Kid man is a name for a child white slaver. Did Nicole Kidman’s father come from a long line of white child slavers? She was the star of Eyes Wide Shut. I think Stanley Kubrick hired her because he knew of the Satanic child slaver history. Kidman’s father was accused of being part of the Ninth Circle Satanic Cult which included Queen Elizabeth II and Pope Francis. I think Kidman’s dad was like Milich from Eyes Wide Shut selling his daughter into slavery.

#6. Halle Berry

Halle Berry

Halle Berry revealed she tried to kill herself when she divorced from David Justice. She made a movie about multiple personality disorder called Frankie & Alice. She was also in a movie called Gothika with Penelope Cruz about Psychiatric abuse by sadistic doctors. Halle Berry is either trying to shed light on the problem or is a victim herself.

#7 Madonna

Madonna Shh

Madonna admits to being raped when she first came to New York. She also lived in an abandoned synagogue there and made Satanic films like one called A Certain Sacrifice. She seems to show all the sings of being a beta sex kitten. She is another star who uses alot of Monarch symbolism in her videos. I’ve read that Kabbalah is used in programming in the Illuminati mind control book by Fritz Sprinmeier. Fritz alleges Madonna was a replacement for Marilyn Monroe. I personally think Kissinger and Associates keeps her in New York to be close to the action in the United Nations. People allege that Dr. K is an MK-Ultra pimp, the most glamorous job in counter intelligence. I really believe Henry Kissinger is the pimp of all pimps keeping his ho’s in check with his poop fetish blackmail. Oh Henry!

#8. Catherine Zeta Jones

Zeta Jones Shh

Zeta Jones was in softcore porn when she was younger. She seems to need to go for tune ups for bipolar disorder. What’s the story with these Hollywood starlets? I’m starting to see a pattern of sexualized, exploited, beta sex kitten slaves getting pimped out by Kissinger and the Rothschilds for their sex parties. I have the least evidence for Zeta Jones but I’ll include her in the list.

#9. Julia Roberts

Julia Roberts Conspiracy Theory

In the movie Conspiracy Theory Mel Gibson is the victim while Julia Roberts plays a justice attorney. I’ve read that Julia Roberts came from an abusive household. She had an abusive stepfather. Maybe it wasn’t Mel’s character that was the victim in that movie. Her brother Eric Roberts tried to get her to talk about it but she’s keeping her mouth shut. She plays the happy hooker in Pretty Woman, the role that brought her to stardom. Most of these stars come from poor backgrounds I can see how the ones from abusive, incestous homes full of trauma get hand picked for stardom and Monarch slavery.

#10. Nicki Minaj

Nicki Minaj

People are very familiar with Nicki Minaj’s MPD. She openly admits to having multiple personality disorder. She came from an abusive home with an abusive father. I think the abuse was sexual in nature and that it continues now that she is a star and can influence the youth.

CONCLUSION

One Monarch star is one too many. If you want to know more read Cathy O’Brien’s book Trance Formation of America.

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Slaves to Debt: The International

The International

Clive Owen never has fun as he observes destruction in the simplistic The International

By Armond White

The International
Directed by Tom Tykwer
Running Time: 118 min.

Clive Owen’s perpetually sullen, unshaven mug as Interpol agent Louis Salinger in The International provokes dreadful flashbacks of his woebegone heroics in the ludicrous apocalypse-thrill-ride Children of Men. Owen’s made a career out of not being James Bond; always a dissolute observer of global corruption, he never has fun. A rugged-looking Brit, Owen wears a worried expression some people mistake for soulful acting. And that morbid temper characterizes recent feel-bad movies about international politics: Children of Men, Michael Clayton, Lord of War, Traitor, Rendition, Syriana, Redacted, In the Valley of Elah, Charlie Wilson’s War, The Kingdom, Stop-Loss, Vantage Point, the Bourne crap and even the good War, Inc. are essentially about glamorous cynicism.

In the conspiracy thriller The International, Owen’s Salinger is skeptical but principled. Collaborating with Manhattan Assistant District Attorney Eleanor Whitman (Naomi Watts) on a bank fraud case that extends to overseas arms dealing, Salinger despairs of a colleague’s murder in Berlin, Germany, and the corruption he witnesses across Europe. Salinger’s drawn deeper into a treacherous network run by the International Bank of Business and Credit—the same bogeyman other glibly liberal movies disdain—because he cares. He is the moral bedrock whose humane scale of response distracts from the carnival of deception and killing.

A credible emotional point of view is rare in action movies; problem is, emotion and politics are not director Tom Tykwer’s things. Despite the clear outline of worldwide greed in Eric Warren Singer’s screenplay, The International is terribly simplistic. Using the IBBC as a metaphor for Capitalism, Singer assesses the self-interest that makes the world turn. But except for Owen and Watt’s empathetic portrayals this is essentially a cloak-and-dagger programmer pumped-up De Palma-style.

Tykwer sends Owen and Watts through a series of show-off set pieces. None express psychic turmoil like De Palma’s extravaganzas: A sequence at Berlin’s National Gallery featuring Arnold Bocklin’s Isle of the Dead salutes the great museum scene in Dressed to Kill without defining Salinger’s disposition through the art work. Yet other sequences in The International are so spectacularly well-paced (and brightly photographed by Frank Griebe) that the choreographed chaos keeps viewers from self-righteous depression like the banal violence in Michael Clayton and Syriana. Tykwer’s widescreen, daylight views of warring tribes, cartels and disaffected bureaucrats are so vivid they almost suggest total illumination of modern ethical crisis.

Of the many climaxes in this climax-stuffed cautionary tale, it is the clash at the Guggenheim Museum—where Salinger has trailed an assassin—that get Tykwer’s most flamboyant. It’s allegory for global anarchy and destruction. Salinger and the assassin recognize their common humanity, then their tension and obstacles escalate. This sequence is an ambitious combination of moral conflict and bravura aesthetics. Configured to match the sloping, slanting, continually changing perspectives of the Guggenheim’s rotunda, the scene attempts to out-do the visceral curlicues of Tykwer’s first hit, Run Lola Run. It visualizes Salinger’s dizzying, uphill struggle and 360-degree paranoia. Tykwer daringly intercuts video installations (actually from the Hamburger Bahnhof by Julian Rosenfeldt). As Salinger’s targets shift and danger boomerangs, capitalism itself becomes an Abstract Expressionist version of the Disasters of War. This tour de force is more accomplished than any of the set pieces in Children of Men—or Zodiac for that matter—yet it fails to drive home the sadness in Salinger’s eyes, unlike the astonishing photo-realist mural in Femme Fatale that summarized its heroine’s life journey.

Instead, as Tykwer goes on to other tricky chases and sensational killings, The International becomes more routine and shallow—even as it pretends to uncover the intricacies of small-arms trading, Middle East subterfuge, collateral damage and varieties of ethnic revenge. Although audiences chuckle when Armin Mueller-Stahl’s jaded banker explains to Salinger, “Life is stranger than fiction, fiction has to make sense,” the unfunny joke is on the way contemporary political fiction (in movies) rarely makes sense of our moral alarm. One reason lies in Tywker’s fanciful/serious approach. Though stylish, it lacks the aesthetic-moral force of such political thrillers as Francesco Rosi’s Exquisite Corpses, Peckinpah’s The Killer Elite, Spielberg’s Munich or DePalma’s Blow Out.

When we’re told that “We’re all slaves to debt” or that war comes from “banks committing so much of its resources sale of weapons” and that cynical news is matched with cleverly staged assassination scenes in anonymous crowded cities, it means that The International isn’t any better than Children of Men. Although war and financial crises are distressing, today’s moviegoing generation doesn’t know the culture shock of assassination and disillusionment that informed Rosi, Peckinpah, Spielberg and De Palma that movies like this merely exploit. Owen pantomimes feeling, but through political snark and snazzy technique, we’ve lost the beauty of art with feeling.

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