Topic: Miley Cyrus

Jay Dyer and Greg Carlwood examine the role of Disney in social engineering and capturing the imagination of children. Dyer cites the work of Gregory Bateson and Dave McGowan regarding Disney's historical ties to government propaganda and the Laurel Canyon military film studios. The conversation touches on the transition of child stars like Miley Cyrus as a form of dark social engineering and the presence of ritualistic elements in newer films like Moana.

The Disney Corporation is characterized as a source of "satanic" subversion that grooms child stars for later sexualization. Artists like Britney Spears, Miley Cyrus, and Christina Aguilera are described as following a template where a "squeaky clean" image is eventually replaced by a hyper-sexualized persona. This transition is framed as a method to influence young fanbases once their parents' guards are down.

The music industry has progressively pushed boundaries of moral degradation, moving from the sexualization of Britney Spears to Miley Cyrus's more extreme performances. Artists like Eminem normalized themes of murder and rape through repetitive exposure, while Rihanna's lyrics introduce adult themes to young children. This trend is characterized as a nefarious agenda by corporations to corrupt the morals of the rising generation.

The Hindu goddess Kali is identified as a primary representative of the Scarlet Woman in OTO teachings. Miley Cyrus’s frequent use of her tongue during performances is interpreted as a symbolic representation of Kali. This recurring imagery across various pop stars, including Madonna and Beyonce, is presented as evidence of a consistent occult agenda in the entertainment industry.

Greg Carlwood and Xavier Hayes debate whether Elvis Presley was an early test case for MKUltra-style celebrity mind control. While Carlwood sees parallels with modern stars like Britney Spears, Hayes argues that Elvis was a "self-made" figure who became a victim of pharmaceutical dependency rather than a programmed asset. They discuss Elvis's personal interest in esoteric and metaphysical literature, describing him as a "seeker" similar to the podcast's audience.

Jamie Hanshaw discusses the sexualization of former Disney stars like Miley Cyrus and the dark symbolism in modern films like *Maleficent*. She introduces her research on "Project Crazy Bitch," which examines how "princess programming" and consumerism create neurosis and narcissistic personalities in women. Hanshaw links these psychological effects to Anton LaVey’s *The Satanic Witch*, suggesting that entertainment is used to create specific mental schisms.

The hosts discuss theories regarding Hollywood celebrities embodying ancient deities, such as Miley Cyrus allegedly invoking the goddess Kali through her public imagery. Another example cited is Jim Carrey’s recurring "Green Man" roles (The Mask, The Grinch) representing Osiris. Boleyn suggests that whether intentional or not, these performers tap into Jungian archetypes that resonate with the collective subconscious.

The public meltdowns of stars like Amanda Bynes and Britney Spears are interpreted as signs of failing mind control programming. Sanders references former CIA Director William Colby's admission that Project Monarch existed but was supposedly shut down in the 1970s. He argues that celebrity status is used to restrict access to victims and normalize their behavior.

Freeman Fly asserts that Aleister Crowley’s philosophy of Thelema shaped the 20th century through "sex, drugs, and rock n' roll." He points to Crowley's appearance on The Beatles' Sgt. Pepper's album and the use of "Scarlet Woman" imagery by artists like the Rolling Stones, Lady Gaga, and Miley Cyrus. These performances are characterized as engineered rituals intended to program a culture through the invocation of deities like Kali.

The Walt Disney Company is characterized as a military-industrial corporation specializing in psychological warfare and mind pattern programming. Freeman Fly links Disney's techniques to Nazi propaganda and points to shows like "Alias" as depictions of MK Ultra methods. He argues that "Hannah Montana" was designed to condition children to accept a social divide between the "lowly" masses and the "elite" celebrity class.

Miley Cyrus's 2013 VMA performance is analyzed as a ritual invocation of the goddess Kali, a herald of the end times. Freeman Fly identifies the use of a "cyber teddy bear" as a trigger mechanism associated with satanic ritual abuse. The performance, including Cyrus's constant tongue protrusion and "twerking," is described as a symbolic degradation of American culture and a signal of the country's decline.

The conversation turns to pop stars like Britney Spears and Miley Cyrus, whom Elisa believes show signs of switching alters during interviews. She describes the music industry as a "mind control mechanism" designed for "entrainment" through occult symbolism and devotion to Lucifer. Elisa also claims she was personally programmed to follow the careers of specific actors as part of her own conditioning.