The MET Gala is a yearly gathering of industry stooges who parade around in elaborate outfits, as photographers take hundreds of pictures for the world to see. The goal? Fundraising. The real goal? The elite showcasing its pawns and its agenda.

In my article about last year’s MET gala (The 2018 Met Gala: Because the Industry Loves Blasphemy), I explained how the entire theme fit the elite’s obsession with desecrating Christianity. Some observers even described the event as all-out “satanic”, complete with Madonna conducting a black mass.

This year’s theme was Camp: Notes on Fashion. The name is inspired by Susan Sontag’s 1964 essay that defined camp as “love of the unnatural: of artifice and exaggeration” (coincidentally enough, “love of the unnatural” perfectly describes the philosophy of the occult elite).

Camp is usually associated with drag culture and goes back a few centuries. The first English definition of the term “camp”, which appeared in a 1909 edition of the Oxford English Dictionary, states:

“ostentatious, exaggerated, affected, theatrical; effeminate or homosexual; pertaining to, characteristic of, homosexuals…”

While not as controversial as last year’s blasphemous theme, this year’s theme was a perfect way to push the all-important gender-blurring agenda. Of course, there’s was lots of occult elite symbolism all over the place.

To understand why the MET Galas are so consistently agenda-friendly, let’s take a quick look at this event’s history.

MET Gala

The MET Gala is an annual fundraising event for the benefit of the Metropolitan Museum of Art’s Costume Institute in New York City. The Gala is reputed as a “luxurious, blockbuster” event and considered “the jewel in New York City’s social crown”. The event is widely regarded as one of the most exclusive social events in the world and one of the biggest fundraising nights in New York City, which raised a staggering $200 million dollars to date.

The first gala took place in 1948 and, for years, it almost entirely consisted of members of New York high society and the fashion industry. In the 1970’s, the event started to become more celebrity-oriented with attendees like Andy Warhol, Diana Ross, and Cher intermixing with the city’s elite

The event is overseen by Vogue editor-in-chief Anna Wintour who also assembles the list of invitees. In 2014, the individual tickets cost $30,000 for those outside the official guest list, after prices were raised by $10,000 to increase the exclusivity of the event.

In short, the event is organized by the industry elite and for the industry elite. At the center of it all: Industry pawns.

Pawns

If you’re invited at the MET Gala, that means that you’re an industry pawn. And, to represent this fact, you must wear elite-approved clothing. Here are some examples.

Janelle Monae wore an all-out “Illuminati” dress, which focused on the symbol of the all-seeing eye. The eye on her breast even blinked. Can’t get more occult elite than that.

Jared Leto – a regular at the MET Gala – wore a red ritualistic robe and held a replica of his severed head. As seen in previous articles, the head symbolizes the alter persona of an MK slave.

Jared brought the creepy head to the afterparty.

Ezra Miller’s costume embodied everything the MET Gala was about. First, the all-important gender blurring agenda. Second, MK imagery, complete with multiple, headache-inducing eyes and a mask – representing the alter persona.

Cara Delevingne’s outfit featured a bunch of eyeballs and fingers over her head.

About two years ago, Katy Perry turned into a bizarre, android-like person who keeps embarrassing herself. Why? Because that’s what her handlers decided for her. Her ridiculous costume at the 2019 MET proves this fact.

At the afterparty, Perry wore a cheeseburger costume. Shes definitely in the elite’s “embarrassment” cycle in her career.

This weird cycle began around the time she wore the “most Illuminati dress in history” at the 2017 MET Gala (read my article What is Happening to Katy Perry).

Harry Styles wore an outfit that was definitely in line with the gender blurring agenda.

This is a pic of him coming out of the afterparty at 6 am. He looks traumatized.

Michael Urie wore a dualistic outfit that fully embodied the gender blurring agenda.

Billy Porter made an entrance fit for an Egyptian queen.

He then spread his wings to become a male version of Isis.

A classic depiction of Isis.

Darren Criss wearing makeup. Because he has to.

Many wondered what “influencer” James Charles was doing there. The answer: He fit the gender-blurring agenda.

There’s nothing much to say about Malema’s outfit. However, the simple fact that he’s at the MET Gala is proof that he’s been initiated in the industry (as stated in my article about Madonna’s video Medellin).

NFL star Odell Beckham Jr. tried to stay gangster while wearing a kilt. He really did not want to wear it. In an interview with GQ, he said: “I told them no off the rip,” Beckham says of the kilt in Thom Browne’s midtown offices on Sunday night, just 24 hours before the Met. “I was like, ‘There’s no chance I’m wearing that.” He said that. But you can’t fight the agenda.

Something is wrong with the Olsen twins. That’s all I have to say about this pic.

In Conclusion

The MET Galas are a perfect encapsulation of the current agenda of the occult elite. Organized by Vogue – an elite institution that is part of the CondeNast media empire – the Gala is all about carefully selected celebrities following a carefully selected theme. The net result of this carefully calculated event: News and social media flooded with pictures of celebrities dressing up in ridiculous outfits to please their elite masters.

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