The past few years of Katy Perry’s career were not easy. After ruling pop music in the first half of the 2010s, she released a string of unpopular songs with questionable videos while constantly finding herself in embarrassing situations. Some might say she’s in a long, drawn-out “humiliation phase” of her career, as the industry apparently selected her to be a “fool” in popular culture.

While this concept might seem far-fetched, it makes complete sense when one understands the mindset of the elite, which is influenced by occultism and ritual drama. Furthermore, Monarch mind control is rampant in the entertainment industry, where trauma and humiliation is an integral part of the process of breaking down and keeping control of slaves.

As seen in numerous articles, Katy Perry’s works have been drenched in the elite’s agenda, including MK symbolism. For instance, the 2012 video Wide Awake (analyzed here) is one of the most blatant videos about Monarch programming ever made. In the 2017 article “What is Happening to Katy Perry?” I look at the singer’s downward spiral from superstar to industry pariah. Sometimes, stars are universally praised, and they can’t do no wrong. Then, all of a sudden, everything they do is wrong.

After a string of bizarre events, Perry shaved her head and dyed it blonde – a common occurrence in MK slaves. Then, she released Bon Appétit, a song that compares her to an all-you-can-eat buffet, complete with a video that alludes to cannibalism (one of the elite’s obsessions.)

The cover art of Bon Appétit represents her being banged by three dudes. That’s the type of song industry slaves have to release.

The loss of dignity only got worse in the years that followed.

While most celebrities paraded around in high fashion at the 2019 MET Gala, Katy Perry was dressed as a hamburger. And she was mercilessly laughed at for months. Humiliation ritual.

In 2024, Perry tried to make a big comeback and released a big single with a big music video. It was a big flop. Everyone hated Woman’s World, as critics panned its feminist message for being tone-death and out-of-date. Not only that, the song was produced by Dr. Luke – the infamous producer who Kesha sued for “sexual assault and battery, sexual harassment, gender violence, civil harassment, violation of California’s laws against unfair business practices, infliction of emotional distress (both intentional and negligent), and negligent retention and supervision.” Not very empowering.

As explained in this very old article, Dr. Luke was basically Kesha’s MK handler. So him producing Katy Perry’s “feminist anthem” was not well received.

It’s almost as if all of this was done on purpose to further humiliate Perry. The video’s imagery was so absurd that some wondered if it wasn’t actually a parody.

In one of the Woman’s World‘s many perplexing scenes, Perry is peeing in a urinal. With her girls. Because it’s a group activity. But seriously, what is the actual message of this scene? That being a “strong woman” involves having a penis? But having a penis means that you’re a man, negating the strong woman narrative. None of this makes sense.

What is the meaning of this scene (other than insinuating sex)?

The entire video seems tailor-made to cover Perry with scorn and ridicule. Here are the very first comments one encounters on YouTube.

It’s a never-ending streaming of negative comments.

Music critics also hated the song.

A typical review of Woman’s World.

Despite releasing the biggest flop of 2024, MTV decided to award Katy Perry the Video Vanguard Award (also known as the Lifetime Achievement Award). The choice was somewhat surprising.

Upon hearing the news, I wondered: Is her humiliation phase finally over? Will mass media restore some of her dignity? At face value, the answer seems to be “yes.” However, when one understands the symbolism of her 10-minute performance that preceded the award, the answer is definitely “NOPE.” The entire thing was about depicting her as a sad product of mind control.

Here’s a look at the performance.

Lifetime Slavery Award

To celebrate her achievements at the 2024 VMAs, Perry served her fans a medley of hits from the past decade (while carefully avoiding Woman’s World). Sadly, the symbolism throughout that performance pointed directly to her being an MK slave of the occult elite.

The performance began with Perry floating in a “portal” in a highly symbolic position: The arch of hysteria.

Previous articles show that the elite is bizarrely obsessed with this specific position.

The arch of hysteria has been identified centuries ago as the most extreme physical reaction to trauma and, according to some, demonic possession.

Tony Podesta, one of Washington’s most powerful people, proudly displays the sculpture Arch of Hysteria by Marguerite Bourgois in his house. It’s one of the many examples of the elite obsessing over this specific position.

So why is Perry assuming this specific position? Because it represents trauma, the first step of Monarch programming.  Once the trauma is intense enough, the body’s defense mechanism is to dissociate. This is when MK handlers begin programming. All of this process is described through symbolism during Perry’s performance.

Perry floats around inside the “portal” to dissociation. To make things more obvious, butterfly wings flash on each portal side.

MK slaves who dissociate are said to feel a “floating” sensation. Therefore, after the trauma represented by the arch of hysteria, Perry floats to represent her state of dissociation. The butterfly wings confirm that this is all about Monarch Programming. Those specific wings will be seen again later.

Meanwhile, Perry sings her hit E.T., which contains lyrics that could easily describe the relationship between an MK slave with her handler.

You’re so hypnotizing
Could you be the devil, could you be an angel
Your touch magnetizing
Feels like I’m floating, leaves my body glowing

(…)

Kiss me, k-k-kiss me
Infect me with your love and fill me with your poison
Take me, t-t-take me
Wanna be a victim, ready for abduction
Boy, you’re an alien, your touch so foreign
Its supernatural, extraterrestrial

Then, the programming phase begins.

Rapper Doechii awaits Perry in an “MK lab” surrounded by spare parts of women. This is about dehumanization and the creation of new alter personas.

To indicate that they’re artificial MK creations, Perry and Doechii’s costumes feature tubes and metallic parts.

Although the song is literally titled I’M HIS, HE’S MINE (a rather heterosexual theme), Katy simulates sexual activities with Doechii. One of the aims of Monarch programming is to create Sex Kittens slaves who have no limits or inhibitions.

Katy Perry “scissors” Doechii, not because she’s a lesbian but because she’s a programmed slave, and she has to.

Meanwhile, Orlando Bloom (Katy Perry’s husband) seems somewhat perplexed by this situation.

As Perry performs her next song, the next phase of her programming is depicted through symbolism.

Perry sits on a heart turning cold (dehumanization) as digits scroll on top of it.

In Perry’s world, 143 is code for “I Love You” (the number of letters in each word). The very human feeling of love is translated to binary computer language (it is not actually binary, but whatever), representing Perry being programmed to “love” who she is told to “love.”

The sex kitten slave has to “service” a ridiculous number of dudes. Why are there so many of them? Meanwhile, Orlando Bloom is still wondering what’s happening.

To represent her complete transformation into a Monarch slave, Perry wears giant butterfly wings (stylized to look like devil horns). 

Perry’s performance ends with her standing on a pyramid of men while holding a big butterfly—pure Monarch programming.

Then, her husband comes on stage to hand her the Video Vanguard Award.

In a possibly unintentional yet highly symbolic scene, Kerry exchanges that big butterfly representing mind control (why was she still holding it?) with a shiny award from the music industry.

If one ignores the blatant symbolism above, her receiving this award should be, in theory, a glorious moment. It appears that she finally got her dignity back. With that being said, here are the first words of her acceptance speech.

“I did that all on my first day of my period, too.”

Wow. Dignity denied. It’s almost as if she was told to say that. And, as usual, Perry got criticized in the media.

Even when Katy Perry wins, she loses.

In Conclusion

The music industry is weird. While some stars enjoy unlimited praise from mass media, others are “sacrificed” and covered with unlimited ridicule. After ruling the 2010s, Katy Perry turned into a hamburger-wearing weirdo who gets attacked every time she does or says something. She even got rejected by Kamala Harris’ people when she offered Woman’s World as a campaign song. Ouch.

While the Video Vanguard Awards supposedly celebrate a lifetime of achievements, Katy’s performance celebrated a lifetime of slavery. As she performed her biggest hits, Perry reenacted the sad life of an MK slave who is subjected to trauma, dissociation, programming, and exploitation. Even when Perry is “celebrated,” she’s humiliated.

And she did that all on the first day of her period.

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