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Natalia Kills’ “Zombie” and “Wonderland”: Dedicated to Illuminati Mind Control

In the last few years, the pop music scene has incorporated gradually increasing doses of Illuminati mind control symbolism in its music videos. Newcomer pop singer Natalia Kills is definitely another step in this direction. While other pop stars blend subversive symbolism with other themes and subjects matters, Natalia’s videos appear to solely focus on mind control imagery. We’ll look at Natalia Kills’ career videos “Zombie” and “Wonderland”.

Natalia Kills is an English singer-song writer who signed with will.i.am and Interscope Records. Not unlike other female pop stars, Natalia began working in the entertainment industry at a young age (7). In 2005, Natalia Kills was a rapper known as Verbalicious and released a single entitled Don’t Play Nice, a playful party-rap song with Natalia sporting a radically different style and image.

After being taken under the wing of Cherrytree Records, an Interscope imprint, her name changed to Natalia Kills, her musical style switched to electro-pop and her overall image became a lot darker, fashion-conscious and twisted. In other words, she morphed into an Illuminati pop star.

Although not at the same level of worldwide popularity, Natalia Kills is often compared to Lady Gaga. Though her fans probably don’t appreciate the comparison, there are indeed several similarities between the singers: They both began singing at a young age; they both signed with Interscope’s Cherry Tree Records; they both underwent an extreme metamorphosis after being signed becoming edgy and hyper-sexualized; both changed their artist names after signing with Cherry Tree; both worked with the same producers (count the shout outs to Cherry Cherry Boom Boom in their songs); and most significantly, both incorporate heavy occult and mind control imagery in their videos.

There is a slight difference in Natalia Kills’ world, however: believe it or not, the mind control imagery and symbolism is even more blatant. Her songs and videos can actually be read as a diary of a Monarch programming victim (for a detailed explanation of this term, please read the article Origins and Techniques of Monarch Mind Control).

Natalia’s world is dominated by the concepts of torture, oppression, sadistic handlers, violence, sexual abuse and drugs. In all three of her videos, Natalia is degraded and abused, always combining sex and violence (our two most primal instincts).

Reflections and fractured mirrors – symbolic of the fractured and fragmented personalities of mind control victims.

Natalia’s first single, Mirrors, flaunts all of the seemingly obligatory references to mind control through symbolism (fractured mirrors, caged heart, etc.) and BDSM (Bondage/Domination/Sadism/Masochism). However, it is her two subsequent singles, Zombie and Wonderland, that clearly associate Natalia with Monarch mind control (to those who understand Monarch symbolism, the names of the songs alone say it all). Let’s look at the symbolism of these two videos.

Zombie

Without the video, Zombie appears to be a song about being in love with a cold-hearted guy who does not return phone calls.  Aw. The setting of the video, however, definitely does not match this interpretation: Natalia is strapped to a table in what looks like a cold laboratory (mind-control facility?), and is controlled by an unseen person who is sadistically torturing her … and with whom Natalia is in love.

The video begins showing  lifeless, dismembered mannequins, a classic Monarch symbol representing the powerlessness of mind control slaves. This symbols is found in many other mind control-themed music videos.
A mask is meticulously removed from Natalia’s face. Masks are actually used on Monarch slaves to program and confuse them. They symbolically represent the slaves’ artificially created personas that can be put on and removed at the will of the handler. The handler’s rubber gloves only prove that Zombie is not about a relationship between lovers but between a slave and her programmer.
In this flash-scene, the handler is apparently plugging something into Natalia’s head  (a reference to electroshock?)
Torture tools used by her handler. This is video is definitely not about Natalia being in love with a “player”. In another scene the handler is shown with a syringe, which are used in mind-control to inject powerful hallucinogenics and sedatives into programming victims.

In the context of the video, it becomes clear that the lyrics are actually about the sick, twisted, forcibly generated infatuation felt by a slave towards her handler. The beginning of the song describe the relationship:

I’m in love with a zombie
Can’t keep his hands off me
I think he’s looking at me
But he’s looking right through me

You think you’re so cool boy
Blood rushing through my veins now
Do you want me for my body
Do you want me for my brain, brain, brain, brain

Can’t keep his hands off me is one of the references to the abusive nature of the sexual “relationship” between Natalia and her handler. The last two lines of this verse are actually the most chilling: Do you want me for my body/ Do you want me for my brain, brain, brain, brain. The handler, aka the zombie, actually wants her brain, meaning the ultimate goal is mind control. He is abusing her to cause trauma and dissociation, which psychologically creates alter personas, the ultimate goal of Monarch programming. The video makes it clear: We are definitely not talking about a pretty-boy player who does not return calls, but a sadistic, Josef Mengele-type figure. So the Zombie is a mind control handler and the song’s chorus is “I’m in love with a Zombie” … disturbingly wrong yet most listeners will never get the song’s true meaning (zombies are so cool, right?).

After witnessing this cold, robotic single, I had the feeling that Natalia’s subsequent videos would be nothing less than symbolism-fests, since new singers always push the blatantness a step further … guess I was right.

Wonderland

MK slave blinded to her reality with the focus on the color red, the color of sacrifice.

To those who know are familiar with mind control symbolism, the name of this single, Wonderland, is a dead giveaway that there will be more here than just music. Alice in Wonderland is the primary movie associated with Monarch programming, as it is an actual programming tool. Using associations in the movie, slaves are indeed encouraged to “Walk through the looking glass” – meaning they dissociate from reality. In the fairy tale, Alice enters a fantasy world where everything is magical, inverted and unstable, a world similar to the slave’s internal world, where everything can be modified by the handler.

Knowing this, the otherwise seemingly random and incomprehensible story of the video Wonderland starts making sense. If you have read other articles on this site, you can probably recognize and identify the meaning of these symbols, since they are found in countless other music videos. The constant use of the same set of symbols across popular culture is not a coincidence: A story is being told in veiled terms for those who have “eyes to see”.

The song itself speaks of disillusionment towards the magical world of fairy tales. This feeling is particularly true for mind-control victims, who are programmed using fairy tales by their handlers. The enchanting world of these stories is of course in sharp contrast to the horrid day-to-day reality of these victims, but they are programmed to recognize parallels between the stories and their disassociated inner-psyche. This is reflected in the first verse of Wonderland:

I’m not Snow White, but I’m lost inside this forest
I’m not Red Riding Hood, but I think the wolves have got me
Don’t want those stilettos, I’m not, not Cinderella
I don’t need a knight, so baby, take off all your armor

This verse describes the mental confusion (lost inside this forest), the control by handlers (I think the wolves have got me) and even the sexual abuse (Don’t want those stilettos) inflicted on MK victims by the very same people who tell them the fairy tales. Despite these references, one could argue that the song itself can be interpreted as wanting “true love” and not “make believe”. Well,  as always we can turn to the video for clarification… and in this video is is pretty clear, there is no love involved.

Filled with semi-subliminal flashes of powerful words and gruesome images, the video makes no allusions to a love interest, but plenty of references to mind control. Some of the phrases flashed on screen are actual mantras hammered into the heads of mind-control victims to confuse and traumatize them.

“Love is pain” is cited in Fritz Springmeier’s book “The Illuminati Formula To Create a Mind Controlled Slave” as one of the actual inversions used by mind control handlers on their victims. The slaves are actually programmed to perceive torture as a form of love. From the book: “The Programmer also takes into consideration what are called ‘power words’. Those are words which have specific meaning for the person. The programmers also love to use reversals and puns, for instance (…) ‘Life is death, and death is life’, ‘Pain is love, and love is pain.’”
This odd image flashes for about a half a second.

The video begins with a kind of ritualistic procession, where Natalia – dressed in red, the occult color of sacrifice – is forcibly lead somewhere by men in riot gear. The scene is peppered with short flashes showing the police beating people during a riot – placing the video in the context of an oppressive police state.

Natalia as Red Riding Hood … being lead to the wolves.

Natalia is followed by women dressed in black and holding a red flag, alluding to the ritualistic nature of this procession. She is taken to a  secured building where she is forced to attend a highly symbolic dinner.

Under the supervision of the police in riot gear, the dinner takes place on a checkerboard pattern floor – the Masonic ritualistic floor featured in countless other videos (for more information on the checkerboard floor read the article The Mystery of the Masonic Mosaic Pavement on Secret Arcana)

The dinner table itself is replete with symbols alluding to mind control. Some examples:

A cupcake laced with pills – mixing things children love with the cause of their abuse.
Limbless dolls on the dinner table. Like the arm-less mannequins seen in Zombie, these dolls represent the powerlessness of mind control slaves.
Dinner guests wearing white rabbit masks. In Alice in Wonderland, Alice followed the white rabbit down the rabbit hole, leading her to Wonderland. In Monarch programming the slave is told to “follow the white rabbit” to reach Wonderland – a code word for total dissociation. In the video, the white rabbit is swallowing a pill, telling Natalia to do the same.

In another scene, Natalia is shown being blinded by the hands of several unseen people. This symbolic image is also used in other mind-controlled themed videos to represent the handlers blinding and controlling the slave.

Top: Natalia Kills in Wonderland; Bottom: Rihanna in the short video advertising her perfume (see article on this advertisement here). Both videos contain heavy Monarch symbolism and both feature this disturbing scene.

The dinner is held under the supervision of police in riot gear. As seen in previous articles, there is a conscious effort to “normalize” the presence of these symbols of a police state in popular culture, hence their presence in numerous music videos and musical performances (see the article The Transhumanist and Police State Agenda in Pop Music).

NWO Police supervising the mind control process (the dinner) happening downstairs.

After “popping her pills”, Natalia becomes a little rowdy, prompting the cops to raid the place and savagely beat her up. She is then taken outside, where her sacrifice will take place.

A medieval-style executioner about the chop off Natalia’s head.

In the beginning of the video, Natalia was shown dressed in red (the color of sacrifice) and followed by women dressed in black (death and morning). Her ritual sacrifice was planned from the start. In mind -ontrol terms, the process caused Natalia to dissociate, go to Wonderland and “lose her head”. The transformation, which occurred on the checkerboard patterned floor, caused Natalia to lose control of her mind and of her actions. Through the trauma of oppression, drugs and physical abuse, Natalia has dissociated and gone to Wonderland, the only refuge to her trauma.

As the axe goes down, the screen rips and the word “Wonderland” appears in red, associating the head chopping with the true meaning of the word “Wonderland” in this song. The video ends with an inspiring image, meant to uplift a generation of young minds:

Natalia’s head chopped off with a bunch of flies around it. An adequate symbol of our pop culture.

In Conclusion

As pop star veterans lose their edge and their “magic”, newcomers sweep onto the scene to enchant pop fans all over again. Record labels and the Illuminati record industry as a whole are aware of the nature of the business, which is fueled by young people constantly seeking the next cheap thrill and the hottest trend.  In a matter of months, fans can go from “OMG she’s the best I’ll luv her forevz” to “Yawn, lame”.  So, in case people ever get tired of Lady Gaga, her record label is already grooming the next generation to serve up the Illuminati symbolism.

As the public becomes increasingly desensitized to the Agenda, videos keep marching towards more graphic and uncensored portrayals of mind control, which is arguably the most sadistic and evil practice in the world. Natalia’s videos can be read as a diary of a Monarch victim, where she describes a world dominated by oppression, torture, violence, sexual abuse and drugs. The horrific world of Monarch slaves is exposed as Natalia is abused and degraded by unseen forces, but the whole thing is presented as cool and fashionable.

Natalia does not currently enjoy the level of exposure of Rihanna or Lady Gaga. She however has everything it takes to become an industry favorite – a perfect candidate to lead a nation of Zombies to Wonderland.

Josie and the Pussycats: Blueprint of the Mind Control Music Industry

Source : Pakalert Press

By Vigilant

“Josie and the Pussycats” is a “girl band movie” aimed at children and young adolescents, especially young girls. At first glance, the flick seems to be one of those generic, God-awful teen movies. However, a closer look reveals how its overall tone and message are in sharp contrast to stereotypes of the genre. “Josie and the Pussycats” is indeed an acerbic critique of a morally bankrupt music industry. The most surprising thing about this 2001 movie is its frighteningly accurate predictions regarding today’s pop music and its Illuminati agenda: mind controlled artists, hypnotized masses, subliminal messages… it’s all there. This article will examine the movie’s themes and their relation to today’s music business context.

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Josie and the Pussycats was released in 2001 by Universal. In music industry terms, 2001 is ancient history. Just to put you back in the context of the era: N’Sync were still singing Bye Bye Bye, Cisco wanted to see your thong-th-th-thong-thong-thong and everybody was wondering Who Let the Dogs Out. Teens were going crazy for boy bands like the Backstreet Boys and everybody was dancing to Ja Rule. So, yes, it was a long time ago.

Josie and the Pussycats came out during that period, but it seems to foretell the death of the era. The movie starts with members of the boy band “Du Jour,” a spoof on the Backstreet Boys, dying in a forced plane crash. The group is then replaced by a girl band with a semi-punky attitude and non-threatening pop rock music. This pretty much reflects what actually happened in the years following the release of this movie: N’Sync and the Backstreet Boys disappeared from the preteen music market and were replaced by Miley Cyrus, Hilary Duff, the Jonas Brothers, and so on.

The Jonas Brothers’ semi-punky attitude and non-threatening pop rock music replaced the Backstreet Boys. They’re the male Josie and the Pussycats.

Despite the movie’s apparent lightheartedness, it displays a harsh and sustained judgment of the music business. It is also severely critical of the state of America’s youth. Teens and preteens are constantly depicted as a herd of brainless drones who are incapable of independent thinking and prone to hysteria.

Preteens going crazy for the latest manufactured pop sensation.

But behind the usual “OMG these big corporations are so corporation-y” criticism, Josie and the Pussycats tackles, in an odd and humorous way, some of the darker sides of the music industry. These include the mind control of the masses and entertainers, and even the assassination of artists who rebel or ask too many questions.

The Boy Band That Knew Too Much

As stated above, the movie starts with Du Jour (the boy band “of the day”) enjoying their enormous success. In their private jet, the vain and half-witted group of singers complain about petty things to their record executive Wyatt, who acts more like a legal guardian. Or, in mind control terms, a handler.

The band then asks Wyatt about strange sounds they heard in the acapella tracks of their latest song… and they want some answers.

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Du Jour asking their exec Wyatt the purpose of the weird background tracks found on their latest song.

Wyatt’s answer is quite extreme, for he and the plane’s pilot strap on parachutes and jump off, leaving Du Jour to die in what is afterwards called an “accidental” plane crash. This has actually happened in reality numerous times. Artists who start uncovering the darker side of the entertainment business, who ask too many questions, or worse, who plan to reveal these things to the public, are often dropped, publicly humiliated and scorned. And, as in Du Jour’s case, they are also sometimes killed for displaying such behavior.

Mega Records

Du Jour was signed with the world’s biggest record label, Mega Records. We soon learn that the company is much more than a record label.

Mega Records is, in fact, “in business” with the American government and the FBI to brainwash the “most influential demographic in the entire population”: the youth. While giving a tour of the label’s headquarters to visitors from foreign countries (who are there to learn how it’s done), Fiona, the eccentric CEO of Mega Records, has this to say:

“I’m sure you’re wondering why agent Kelly and the United States government would be so interested in what appears to be a record company. Well, I’m about to show you why.”

Fiona’s office then turns into an elevator and starts descending into a secret underground facility.

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Fiona, the CEO of Mega Records, giving a tour of the secret underground headquarters of the label.

The label’s headquarters is, in fact, a control center for manipulating the minds of the American youth. It creates new fads, decides everything from “what clothes are in style to what slang is in vogue,” with the ultimate goal of making the youth continually spend money on one temporary trend after another.

Reality is, of course, more complex than that. Trends are (probably) not created in an underground control center in New York City. There is however truth in this near-cartoonish depiction of the music business. The entertainment industry is indeed connected to “higher powers” (as personified in the movie by the FBI agent) in order to sell the youth on the economic elite’s agenda. Popular culture not only attempts to sell products and brands to the audience, but also ideas, values and attitudes. In previous articles on the Vigilant Citizen, we have established that today’s agenda focuses on concepts such as transhumanism, Illuminati symbolism, premature sexualization, police state/militarization, and so forth.

Continuing her tour, Fiona says:

“But how, you may ask, can our operation be so effective? Sure these kids have brains like play dough, just waiting to be molded into shape, but something else must be going on, right?”

Fiona then explains that her label inserts subliminal messages in pop music in order to manipulate the youth into buying products and ideas. The label thus goes beyond the simple advertising of products. It conceals hidden messages in the music that bypass the audience’s conscious minds in order to directly reach their subconscious.

After the presentation, a foreigner asks Fiona “How can you control the rock bands? What if one of them discovers you are placing hidden messages in their music?” This is what she answers:

“Ever wonder why so many rock stars die in plane crashes? Overdosed on drugs? We’ve been doing this a long time. If they start to get too curious, our options are endless. Bankruptcies… shocking scandals… religious conversions!”

There are numerous real life examples of celebrities who have been silenced, one of the most shocking and evident being Michael Jackson. After decades of being controlled by the entertainment business, he attempted to break free in the late 90s. He even spoke out about it (see the article “When Insiders Reveal the Ugly Side of the Entertainment Business“). He then endured years of scandals, trials, public ridicule and financial difficulties. Michael Jackson still managed to keep singing and dancing, even organizing a world tour for 2010.  Since previous attempts to destroy him failed, MJ got silenced… by force. So, it would seem that ten years after the release of this movie, shady celebrity sacrifices are still happening.

New 3D Technology

In an attempt to “take things to the next level,” Mega Records develops a new technology called “3DX Surround Sound.” This new technology “makes the music feel like it is happening all around you.” All the kids who attend Josie and the Pussycat concerts or watch them on TV have to purchase this headgear in order to hear the music.

Hypnotized, mind controlled teens testing the new 3DX Technology in a Mega Records lab. Note that the girl in the middle is a “free thinker” that got kidnapped by the label in order to have experiments conducted on her.

Back in real life, we are seeing the commercialization of a very similar technology…

3D glasses are today’s hottest trend. They are required to view 3D movies, TV shows and video games. Will this 3D technology bring new brainwashing possibilities? You betcha!

Josie and the Pussycats: From Nobodies to Sex Kittens Programming Stars

After the killing of Du Jour, record exec Wyatt is instructed to find a new band as soon as possible. The movie makes it clear that talent is absolutely irrelevant. The label just needs a good-looking group and it will take care of the rest. Then we are introduced to The Pussycats… and their lack of fans.

The Pussycats performing in a bowling alley, with nobody listening to them. Most overnight successes start from humble beginnings, until the industry takes them, changes them and sells them to the public.

The rock band comprises three young ladies who wear leopard ears as a prop. It is quite obvious that nobody wants to hear their music and even their manager Alexander doesn’t seem to like it.

After hearing about Du Jour’s plane crash on television, The Pussycats leader, Josie, is motivated to “get out there” and obtain a record contract. At the same time, Wyatt is driving around in the small town of Riverdale, looking for a band to sign. Then it happens.

Wyatt literally runs into The Pussycats crossing the street. Some dudes coincidentally walk behind them holding a sign with “#1 Band in the World” on it. That’s pretty much all Wyatt needed to see to sign them.

Wyatt sits down with the girls and tells them how happy he is “to be sitting down with The Pussyhats.” He obviously knows nothing about the band and does not care. He then offers them a record contract with Mega Records. Josie wonders briefly why her band is being offered a contract by a label that did not even hear them play. However, her hunger for fame dispels all her doubts and the band signs the contract.

The Pussycats’ story is classic: a broke, struggling band attempts to become big by performing gigs; a record label offers a shady contract; the desperate and fame-hungry band signs, not knowing what they are getting into. For the band, it’s either taking a chance and signing the contract or going back to eating Ramen noodles in a crappy apartment. So, they sign the contract.

Right after they sign, the label subjects the group to a complete metamorphosis: a make-over to “sexy them up,” and a name change, from The Pussycats to Josie and the Pussycats. The group is now completely owned by the label. It has lost control of its image, its name and even its music, as it has been modified to contain subliminal messages. But those changes pay off, as they become a #1 band in less than a week.

Josie and the Pussycats partying in Billboard’s #1 spot
Josie and the Pussycats looking at the “Megasound 8000.” On top of “digitally enhancing” the singer’s voice (is it the ancestor of Auto-Tune?), the machine inserts subliminal messages in the music in order to convince listeners they love the band and to sell them products and ideas.

Mind Control

The movie also contains numerous references to mind control programming. As stated in previous articles, numerous celebrities have been subjected to mind control in order for them to become more easily manageable by their handlers. In bolder words, they become slaves of the industry.

From wearing cute little kitty ears, the group is now draped in feline prints, a mind control meme signifying a subject’s beta programming, also known as Sex Kitten programming. The fact that  they wore the ears before they got famous might signify the group’s predisposition to this kind of programming.

Monarch mind control includes numerous types of programming, one of them being Beta (or Sex Kitten programming). It is the type of programming that is the most used in the entertainment industry and it is coded with references to “cats,” “kitties,” “pussycats,” and also with the wearing of feline print clothing. This might explain why the producers chose to base the girl band on the Archie Comic of the same name. The symbolism was just too perfect.

The movie was based on this Archie Comic.

So, in less than a week, with the help of subliminal messaging, the group produces a #1 hit and sells out a huge concert. The group even earns the honour of meeting the label’s CEO, Fiona.

Fiona’s “hang out” room. Notice the painting on the left. Yes, this was years before the creation of the persona named Lady Gaga.

The girls soon realize that Fiona acts in a strange, dissociative matter, as if she were herself under some sort of mind control.

After the meeting, Fiona spies on the group using hidden cameras and learns that two members of the group, Melody and Valerie, are creeped out by her and flat-out do not trust her. So she decides to go with another tactic we often see in the music business: to keep the star of the group and drop the other band members.

In order to carry out this operation, the label proceeds to use mind control on Josie by making her listen to subliminal messages in her own music. The process completely changes her attitude and personality: Josie turns from a sweet and down-to-earth girl into an attention-hungry diva who is convinced that her friends are worthless. This scene subtly describes the hidden, mind control aspect that happens in the music business: label execs use mind control programming to create an alter persona in Josie, which they can control and manage at will.

Josie, in a dissociative state due to her mind control. Everything is “blurry” and “foggy” around her. She is completely dressed in feline prints, still representing her “sex kitten” programming.

Fortunately, Josie manages to snap out of her hypnotic state and learns everything about the 3D, mass mind control concert. Unfortunately,  her band mates Melody and Valerie have been kidnapped by the label and Josie must perform in the mind control concert to avoid the “accidental killing” of her friends.

Fiona shows Josie a pre-taped segment of MTV News announcing the “accidental death” of Melody and Valerie. This is a good example of media manipulation in order to protect the elite’s interests.

I will spare you the details of the ending, but I can tell you that it involves cat fights and the girls playing generic pop rock in front of a crowd that has learned to think for itself. Thank you Josie!

In Conclusion

The least we can say is that Josie and the Pussycats is an odd movie. It strongly criticizes some aspects of the entertainment business while perpetuating more of the same. One example of this paradoxical situation is the ridiculous amount of product placements in the movie.

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As a running gag, the entire movie is filled with over-the-top product placements. Directors say no money was taken for these placements…

Some of those placements are pretty hilarious (see the box of Tide above), but in the end they too perpetuate the market ideology. Imagine me repeatedly punching someone in the face. Then when asked to stop, imagine me replying: “Can’t you see that I’m pushing this face punching to an absurd level? You’re obviously not getting the brilliant second-degree message here, I’m actually denouncing violence! So sit there and think about violence in society while I keep pounding this guy’s face.” Despite what is being said, the fact remains that pounding someone in the face is itself perpetuating violence… and this movie keeps punching the viewers in the face with product placements.

In fact, the entire movie’s message gives the same odd feeling. Its clever “behind-the-scenes” look of the music industry makes the viewers feel they’re “in on the joke,” making them comfortable enough to let their guard down. However, at the end of the day, the young viewers are still the butt of the joke: all of the sleazy and gimmicky tactics are being used on real-life viewers in order to sell them mind controlling music. Furthermore, the movie fictionalizes some of the darker aspects of the entertainment business, for example by making mind controlled artists something that one can “only see in the movies.”

At the end of the film, Mega Records’ mass hypnosis plans are uncovered, and the FBI (who funded the project) immediately attempts to dissociate from the label, even arresting Fiona “on charges of conspiracy against the youth of America.” The agent then privately says to Fiona: “We were shutting down your entire project anyways… we found out that subliminal messages work much better in movies!” This is the movie’s way of saying that even though it has let you in on the joke, the movie is still part of the plans. In other words, the biggest joke in the movie… is you.


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