How to Spot a Psyop Meant to Corrode Beauty (With EGI as Exhibit A)

Today, we look at one of the many popular unscientific and impractical disinformation psyops in social media, the idea that ALL Elites are gender inverted. Here’s how you spot a psyop designed to destroy your mind.

1. It Makes You Ashamed for Admiring Someone
A beauty-based psyop always starts by targeting your genuine human instinct to admire.

You loved her elegance? Must be a man.
You were inspired by his gentle strength? Probably a woman.
You saw someone shine with light? That’s a trick. You’re the fool.
This is how you know you’re under psychic attack: the thing you once found uplifting now feels suspect. The psyop hasn’t revealed a truth—it’s infected your witness.

2. It Replaces Analysis with Revulsion
Instead of studying power structures, legacy families, or media framing, a beauty-destroying psyop demands you gawk at clavicles and jawlines.
EGI (Elite Gender Inversion) is a textbook example:

Take a blurry photo from 1981.
Draw a red circle around the hips.
Add the caption: “Wake up.”
This is not inquiry. It’s soft-core cruelty disguised as truth-seeking.

3. It Uses Vague “Evidence” That Could Apply to Anyone
Ask yourself: could the “proof” in the post be used to accuse anyone of the same thing?

“Her hands are too big.”
“His eyes are too soft.”
“That baby picture looks strange.”
Congratulations. You’ve just proved that humans have diverse bodies.

This method is not just faulty—it’s designed to be viral precisely because it’s unfalsifiable.
And psyops love the unfalsifiable. They’re cognitive malware.

4. It Reduces Souls to Bodies, and Bodies to Traps
In the logic of EGI and similar campaigns, no one is who they say they are.
There is no authentic womanhood.
There is no divine masculinity.
There is only surgery, inversion, and illusion.

Which is another way of saying:

You should never trust what you love.
That’s not disclosure. That’s a death cult in a meme mask.

5. It’s Never About the People Running the World

EGI never points to:

The arms dealers.
The private equity lords.
The unelected policymakers.
The actual war profiteers.
No—it always focuses on:

A supermodel.
An actor.
A beloved star from your childhood.
This tells you everything.
The psyop is not meant to “expose power.”
It’s meant to dismantle reverence.
To hollow out the concept of public good.
To make sure you never believe in greatness again.

Final Test: Does It Make You Less Kind?
The best way to spot a beauty-corroding psyop is to ask:

“Do I feel wiser or crueler after engaging with this?”
If the answer is crueler,
if you’re sneering at the people you once adored,
if your admiration has turned into a hobby of mocking appearances…

Then you’ve been caught in the net.

Back out. Rinse your mind. Recalibrate your heart.

Because Here’s the Real Secret:
Beauty is a security mechanism.
It draws attention.
It softens hearts.
It reveals intentions.
It keeps the real monsters visible—because they can’t mimic it.

Destroying beauty doesn’t protect the truth.
It protects the predators who want no one left to believe in anything at all.

If you think you have ever been lied to, you must recalibrate your priorities. You’ve never been lied to. You’ve always been given everything you need to figure out the truth. But also, you don’t matter… Mrs. Doubtfire never put on a dress to lie to you, specifically.

Addendum: How Gender Roles Actually Work in the Xanadu Blockchain

Now—does gender role inversion ever happen in media and history?

Yes.
But not as deception.
As disclosure.

Using the Xanadu Blockchain algorithm—which tracks conception dates, media placement, and soul assignments—you can detect when a person is playing a role across gender lines.

This happens for very specific, intentional reasons:

A person might appear only once in the media within an unusual or controversial human interest story. It is possible to contextualize all people appearing in media psyops. If the person is registered as playing across gender, the rest of the intelligence community knows they are looking at a psyop featuring an actor/actress, and they can play along.

Dozens of security professionals support security operations meant to hoodwink a person bent on acquiring a child. The child (usually a baby or a toddler) will be presented across gender, in a media placement or a home movie (never directly). Then, the adults will discuss illegal activities with the mark, while someone is recording the conversations. Therefore, the adults running the security operations can feel comfortable while they are discussing the child in the context of a written role and an outcome that can’t occur. It’s much less puke-worthy. Such is the case of the child who played the role of the Lindbergh baby. She went on to become an actress.

Additionally, a person could be playing across gender to establish themselves as a someone with a big secret. The most problematic people in the world are hypocrites who only trust other hypocrites, therefore, every asset presented to them must arrive with a point of hypocrisy already developed into a sophisticated storyline. Today, it’s would not really matter if a person in the public eye was trans, however, in the early 90s, such a secret would have been more surprising. Then, the world can be divided between the people who know, and the people who don’t. EGI offers a look at how well certain people can be separated from the general population by giving them a very well-crafted secret.

These actors aren’t hiding—they’re demonstrating mastery.
They’re showing you that the role is what matters, not the chassis.
And when the role calls for a crossing of gender expectations, they do it with grace, discipline, and purpose.

So yes:
Sometimes the gender inversion is real.
But never because “the elites are lying.”
Always because the role demanded transcendence.

And when you see it through the lens of Xanadu, you won’t feel tricked.
You’ll feel awe.


The Affairs of Cellini

It Happened on
August 24, 1934

The following explores the film as a disclosure package about the work of the people who made the film. It is one of more than 8,000 events explored by the writer through the lens of clever and creative law enforcement work across the last 150 years. For a list of countries who are using performances and spectacles to conduct law enforcement work, see the Kellogg-Briand Pact of 1928.

In this film Cellini, played by Frederic March, purportedly hypnotizes young women, notably Angela. March plays Death in the film Death Takes a Holiday, the man who falls in love with Grazia. His first gig as an extra was in the film The Education of Elizabeth, the same year he also appeared in the film The Devil.

Grazia references a real person, Brachfeld Elizabeth Vilma Parlaghy, a young woman who was staying in Turin with King Umberto I after 1878, in order to complete a project for Pope Pius IX. She worked as a translator and interpreter. She fell in love with Lajos Kossuth who came up with the storyline for Death Takes a Holiday. In reality this is the name of a death squad active after 1860 in the U.S. and Europe. It was founded by people such as Abraham Lincoln, Allan Pinkerton, Queen Victoria and Prince Albert, Lajos Kossuth and Garibaldi. Under patron King Umberto I, with the blessings of Pope Pius IX.

The trope of hypnotizing young women is a pantomime executed by actors to mesmerize higher society. This is called MONARCH by the women who helped The Prince of Wales (Charles) in the last 25 years. And it ended when King Charles III deployed his Monarch Butterfly portrait.

Death Takes a Holiday is a group that uses performance to capture and remove problematic individuals.

The supposedly hypnotized young woman actress is witness #2 at gatherings. Two witnesses are required in cases of treason, hence why a second witness is necessary. However, the U.S. Army goes through great lengths to present the second witness as “obviously not a trusted witness”. Lustful people have such a low opinion of women that it is always a beautiful military officers who play the role. Since it is assumed that she is under a trance, and will not remember what is said by guests, it causes people to feel more comfortable revealing themselves to witness #1 in front of witness #2. This role was played by Brachfeld Elizabeth Vilma Parlaghy (later Princess Vilma) many times in her life, for people such as Kaiser Wilhelm II, Albert, Prince of Wales, P.T. Barnum and Prince Georgy Lvov, her husband. As a speaker of 5 languages, Princess Vilma was able to carefully listen to guests at society parties. She maintained a group of advisors in law enforcement who mapped out human trade networks building on work done across three lifetimes.

The film Death Takes a Holiday has a subtitle “Nobody Dies While Death Makes Love”. The strategy of the group is to organize various events where guests are encouraged to disclose who they are, perhaps to impress the other guests. Then, the guests involved in activities that endanger human rights will see their whole life crumble, for no discernible reason, leading to their discreet arrest and removal from the playing field. People who hurt other people systematically are classified as “Nobody” and quietly executed after an opportunity to confess or testify. Therefore, “Nobody” dies while Death is making love to… the worst people in the world.

This strategy was still active as of 2024, however that year’s theme was “The Last One”. This system has been working for over 150 years to discreetly remove the people “on the list”. The pope and the royal families maintain a list of people who are known to be involved in illegal activities which are hard to police. This is colloquially known as Santa Claus’ Naughty List. Princess Vilma (Brachfeld Elizabeth Vilma) carried this list with authority across her travels between Europe and Americacarried this list with authority across her travels between Europe and America. The people on this list are murder hobbyists, or they are known to hold people captive against their will leading to a difficult situation to dismantle. These individuals are referred to a group who seems to be involved in the same activities, a thematic secret society! The secret society welcome them and documents them. They will separate them from their support system by inviting them “on an holiday”, an exclusive trip with the royal family. Meanwhile, another group works to dismantle their network, leaving them destitute.

Princess Vilma developed the role of witness #2, or The Lap Cat, or The Pink Lady. She reincarnated as Marilyn Monroe and also played the role again, as young as 15 years old, just like Brachfeld Vilma back in 1878.

It is very important that people who mesmerize the enemy of humanity using the trope of hypnotism be introduced to the public, in this role, either before or after playing it in private. This is one of the most believed storyline in the general public. People believe ALL performers are under MK Ultra mind control programming. Which means that the general public routinely projects their abnormal psychology onto actresses via social media, allowing the U.S. Army to measure the lust for control of others in the general population.

The film The Affairs of Cellini features Louis Calhern who was sweet enough to lend his lap to Marilyn Monroe in the film The Asphalt Jungle, where Marilyn discloses that she worked as witness #2 for almost a decade! The PR photos for the film establish Louis Calhern as a man who seems like he is controlling Marilyn Monroe. He becomes her Beast, a role also played by Charles Coburn, Bob Hope, Jack Benny, Groucho Marx and Hugh Hefner.

The actor Frederic March was conceived immaculately by Her Serene Highness The Princess Vilma Lwoff-
Parlaghy on November 27, 1896 when Richard Strauss’s orchestral tone poem Also sprach Zarathustra was first performed, in Frankfurt, conducted by the composer. The Princess chose Richard Strauss because he is the discreet son of Pope Pius IX who founded the death squad that kills “Nobody”.

PERSON CARD

Fredric March   (1897 — 1975)

American actor, regarded as one of Hollywood's most celebrated, versatile stars of the 1930s and 1940s (more...)

People featured in this post:


Constance Bennett

American stage, film, radio, and television actress and producer


Gregory La Cava

American film director of Italian descent


Edwin Justus Mayer

American screenwriter who wrote or co-wrote the screenplays for 47 films between 1927 and 1958


Bess Meredyth

screenwriter and silent film actress. The wife of film director Michael Curtiz


Frank Morgan

American character actor


Louis Calhern

American stage and screen actor


Fay Wray

Canadian-American actress best known for starring as Ann Darrow in the 1933 film King Kong


Fredric March

American actor, regarded as one of Hollywood's most celebrated, versatile stars of the 1930s and 1940s