In case you didn’t know, Beyoncé is a big, massive, gigantic star. So, when the time came for her to embark on a new world tour, you better believe that the money was spent to create a big, massive, gigantic show. And considering the fact that we’re talking about Beyoncé, you better believe that the entire thing was replete with big, massive, gigantic symbolism.
I’m pretty sure that long-time readers of this site are not surprised at all. After all, my first article about Bey was over fourteen years ago and, since then, she constantly put out material that’s highly symbolic. There’s a reason for that.
Beyoncé enjoys a special status in the music industry: She’s the “Queen Bey”. She was given a royalty status that’s constantly reflected in everything she does.
While her entire persona is surrounded by a goddess-like aura, her status also means that she’s the ultimate prototype to carry all of the occult elite’s messages and symbolism. In many ways, she is the figurehead of the global pop music industry.
Ironically enough, when one decodes the symbolism surrounding her, Beyoncé is portrayed as the exact opposite of royalty: She’s a robotic slave who does as she’s told by those who programmed her.
If this last sentence makes absolutely no sense to you, keep reading. Because the imagery in her Renaissance World Tour could not be clearer. Divided into six acts, the show is driven by an overarching narrative about Beyoncé’s “rebirth” as an android which culminates in an unsettling bit about mind control.
Let’s look into it.
Before the show even begins, the crowd is treated to LGBT Pride flags because, well, it’s just obligatory. And, throughout the show, the audience will be seeing male dancers dressed as women inserted here and there because that is now obligatory as well. There are even trans/drag dancers during the song Run The World (Girls), which is rather contradictory.
As stated above, Beyoncé was built to promote agendas. And the rest of the show explains how she was built. In a symbolic way, of course.
Right from the start, the show begins with some interesting symbolism.
At this point, we already know that this will be elite-approved “entertainment”.
As you can see, there’s a lot of skin and flesh in the picture above. This is “human” Beyoncé. And, during the first part of the show, human Bey performs some of her slower and gospel-inspired R&B songs.
However, at the first intermission, a metamorphosis occurs.
This is where human Beyoncé turns into an artificial creation. As seen in previous articles, the elite loves to portray its industry slaves as androids who’ve been programmed through Monarch mind control. If you think I’m going too far, keep reading. Because the words “MIND CONTROL” will literally appear on that screen later during the show.
Then, we’re taken somewhere … else.
Yup, the viewers of the show are taken into Beyoncé’s vagina. And, apparently, it goes very deep.
Then Beyoncé re-appears to the crowd in a brand new outfit.
This is a direct reference to the character of Maria in the 1929 movie Metropolis.
As explained in previous articles on this site, the movie Metropolis is extremely important to the occult elite – especially in the entertainment business. Throughout the years, numerous female artists have referenced Maria in their acts, including Beyoncé herself on several occasions.
There is a reason why this character from an obscure German movie keeps popping up in popular culture: Her story is highly relevant today.
In Metropolis, Maria is a charismatic leader who is loved and trusted by the working class. However, a scientist from the elite kidnaps her and creates an android that takes her likeness. The robot is then sent to the workers where she is used to corrupt their morals and push them to work against their own interests. The movie culminates with robot Maria performing an erotic dance where she embodies Babylon, the Great Harlot of the Apocalypse.
In short, Maria is the perfect figure to represent the role of pop stars in today’s popular culture.
There’s a lot of symbolism happening in the image above. Beyoncé’s entire body is made of circuits which confirms that there’s no more human Beyoncé left. More importantly, she has one eye hidden by an electrical thingy – a perfect way of representing her status as an industry slave. At the center of the screen, a rendered version of Beyoncé’s face is surrounded by the phases of the moon – a way of indicating that there was some witchcraft involved in the creation of this robot. Exactly like in Metropolis.
Like Maria from Metropolis, Beyoncé-bot has some messages to communicate to her audience.
Then, a message of the utmost irony is displayed to the viewers.
The presence of this quote in this show is quite ironic. Beyoncé is a product that is literally owned by “whoever controls the media”. Every aspect of her career is handled by the biggest names in said media. In other words, those who control the media are telling the viewers that they’re controlling their minds.
Then, things get even more blatant.
After telling us that media controls the mind, Beyoncé re-emerges as … a media personality.
Like Maria in Metropolis, Beyoncé is used by the elite to communicate specific messages to the masses.
Then, the show ends in the most Beyoncé way possible.
The music industry loves to portray Beyoncé as the queen of the music industry and no expense was spared to make the Renaissance World Tour an event … fit for a queen. However, when one analyzes the narrative behind the show, one thing becomes clear: Beyoncé is portrayed as the exact opposite of royalty. The show tells the story of a human singer who transforms into a robot slave through a combination of science and occultism – not unlike Monarch programming.
As the show progresses, things get increasingly blatant. In one image, she is literally shackled while holding a mic. Can they make this clearer that this is all about mind control? I guess they can. Because they literally flashed the words “MIND CONTROL” later in the show.
In short, the Renaissance World Tour told the story of Beyoncé’s transformation from a soulful R&B singer to a tool of the elite that was reduced to slavery. And people cheered throughout the entire thing.
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