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By: Jay Dyer

Possibly no domain of culture is more openly degenerate and hellish than modern “fashion,” and when Disney presents a film on the “fashion” industry (which I have zero interest in), I knew what to expect.  Not only was this film partially about the “Illuminati” dominated fashion industry, the film was actually about MK Ultra-style trauma based mind control and elite social engineering.  I know, that sounds redundant – Jay, don’t you say that’s all movies?  Yeah but that is literally the plot of this film!  In fact, the time and setting of the story is also relevant, the UK in the 60s, during the Beatles/counter-culture revolution.

As readers and viewers know, we have covered the controlled and steered nature of the so-called counter-culture and how it was used to further the earlier ‘revolutions” toward the final revolution we are witnessing today.  Far from being against the system, the revolution was funded, guided and inculcated at all levels of society with precision coordination.  The odd element of Cruella is that one of those revolutionary pop culture figures (Cruella) happens to also be a blue blood nobility.  Indeed, an important element of this misunderstood villain motif is the revealed process by which the elite created psychopathic offspring, through mental, physical and spiritual abuse.

Barker’s account of abuse.

That is also not my interpretation, that is the plot.  It’s as if Disney writers read the conspiracy world’s analyses of plots and films and symbols and said, “Yes, go with a literal Fritz Springmeier MK Ultra alter story!”  Further, Cruella is not merely a traumatized and unwanted offspring of British aristocratic psychopathy, as a result of the various traumas she actually has a split personality: Cruella is the dark, shade alter for Estella, a highly intelligent and artistically gifted daughter of noblewoman Catherine, who resides in a palatial estate and works as one of England’s most elite fashion designers.

As you can imagine, the film is rife with duality symbolism, profuse either/or dialectics and black and white checkerboard flooring.  Even Cruella’s hair is emblematic of her split personality.  As Estella undergoes her transformation into Cruella (DeVil aka Devil), we see her gradually ascend from orphaned child of the streets to creative fashion designer to recruit for Catherine, both of whom are unaware she is Catherine’s long lost child.  The further Estella ascends the latter of worldly success in fashion, the more she adopts the persona of Cruella, becoming more and more cunning, demonic and cruel.

Satanic themed runway “fashion” recently in UK.

Thus, the MPD/DID split is thus the source of her power, which harkens to the MK MONARCH Project in which it is alleged that Satanist Col. Michael Aquino and other CIA doctors sought to create a programmed selection of elite children who could become the “super” soldiers of a coming Satanic Aeon, functioning as the next phase of human evolution.   For this stage to occur, the ritual traumatization and creation of alters and supposed enhanced creativity could  thus be manually engineered.  Indeed, my recent analyses of Aquino and other MK Ultra documents and survivors bears this out.   Although I cannot prove all the accusations and allegations of Candy Jones, Cathy O’Brien or Kerth Barker, both victims’ writings to demonstrate many details and claims that can be verified.  Their cases of abuse parallel in many ways the story of Estella.

There’s even an Eyes Wide Shut style aesthetic to some of the masked ball scenes.

As mentioned, the 60s counter-culture setting would place Cruella at baby-boomer age, with her transformation placing her as one of the premier agents of change for the fashion industry.  While I recognize this is a fictional character, she may symbolically represent the mass traumatization and fragmentation of the boomer psyche through the master PsyOP known as the 60s counter-culture.  From the Crowley and TM inspired Beatles, to Donovan’s “Season of the Witch” and the openly Luciferian and Satanic Rolling Stones, the film’s soundtrack and scenery are intentionally evoking the Age of Aquarius, which is really nothing more than the Aeon of the Child: Estella/Cruella is that child, symbolically.  The dissociative, doublethink split in Cruella is paradigmatic for the dissociative, fugue states the post-boomer generations would learn, like Winston, to love.

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