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 has a special status in the music industry: She’s the “Queen Bey”. She was given a royalty status that’s constantly reflected and 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 agenda of 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.
Renaissance
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.
The show begins with a picture of Beyoncé that is gradually revealed one square at a time. For a few minutes, the fans are made to look at a subtle yet very present one-eye sign.
At this point, we already know that this will be elite-approved “entertainment”.
The full picture reveals a Beyoncé that is not wearing a lot of clothes.
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 or gospel-inspired R&B songs.
However, at the first intermission, a metamorphosis occurs.
During the first intermission, we see the human Beyoncé turn into a shiny robotic thing.
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.
Two robotic Beyoncés lay opposite each other – a way of representing the split personality of MK slaves.
On several occasions during the show, we see this strange image: A winged Beyoncé riding a missile. The war agenda is here. In fact, there’s an entire segment of the show that revolves around war.
Then, we’re taken somewhere … else.
The legs of the Beyoncé-bot are spread and there’s a tunnel right in the middle of it.
Yup, the viewers of the show are taken into Beyoncé’s vagina. And, apparently, it goes very deep.
At the end of the tunnel, Beyoncé-bot appears (inside herself?) and mimics horns on her head. Gotta show us who programmed her.
Then Beyoncé re-appears to the crowd in a brand new outfit.
Beyoncé stands under a sun/star while wearing a shiny android outfit.
This is a direct reference to the character of Maria in the 1929 movie Metropolis.
The android in Metropolis under an inverted pentagram.
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.
Beyoncé, like 13 years ago.
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 Maria 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 act 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.
Throughout the show, there are multiple video segments showing Beyoncé submerged in water (like an unborn baby) while attached to all kinds of tubes and devices. She is being created and programmed by her handlers.
This sums up the entire show.
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’s some witchcraft involved in the creation of this robot. Exactly like in Metropolis.
This image is also quite eloquent. Beyoncé is literally shackled while she holds a mic in the other hand. What better way of representing a slave of the entertainment industry?
Like Maria from Metropolis, Beyoncé-bot has some messages to communicate to her audience.
Towards the end of the show, the viewers are subjected to a spinning hypnotic pattern as creepy sounds play in the background.
Then, a message of the utmost irony is displayed to the viewers.
The screen displays the quote “Whoever controls the media controls the mind” which is attributed to Jim Morrison.
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 short, those who control the media are telling the viewers that they’re controlling your mind. Then, things get even more blatant.
In an unsettling segment, the words “MIND CONTROL” are displayed to the audience. Bonus: At the center of the word “CONTROL”, there’s a figure on all fours implying sexual submission (Beta kitten programming).
After telling us that those who control the media control the mind, Beyoncé re-emerges as … a media personality.
During the song America Has a Problem, Beyoncé plays the role of a robotic newscaster who happens to wear Baphomet-like horns.
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.
Beyoncé is lifted up in the air and hovers over the crowd as if she was some sort of divine figure.
In Conclusion
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. I mean, 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 into a tool of the elite that is reduced to slavery. And people clapped throughout the entire thing.
