I have written elsewhere about CIA’s use of Wonder Woman to entrain men and women into unhealthy forms of sexuality. Most do not remember because MK-ULTRA (PROJECT MONARCH) mind control uses drugs, hypnotism, sexual trauma, and electroshock to erase memories.
Some drugs, like hyoscine, stop memories from forming, and drugs like chloral hydrate serve as hypnotic sedatives.
Fritz Springmeier and Cisco Wheeler describe these obscene mind control programs, and so does Svali, in books I recommend. They helped me to recover memories of abuse I had lost for over forty years.
While watching The New Adventures of Wonder Woman, boys and men were filled with rape fantasies, which their handlers sought to transfer onto real women.
Likewise, under drugs and hypnosis, girls learned to spin and dissociate, changing identities or “alters” as a prelude to sexual abuse. Handlers wanted children to act out rape fantasies from the show.
I know because these things were done to me. From 1976 to 1978, I spent one week every year at a YMCA summer camp in Union, New Jersey, where I was drugged, hypnotized, and sexually abused under CIA’s mind control program, MK-ULTRA. I had no memory of my abuse for forty years. That’s how trauma-based mind control works.
Although I played outdoors constantly, day after day, all summer, for some reason, I was always exhausted—unable to move off the sofa—after the first day of soccer camp. They had injected me with drugs.
The camp divided boys into different rooms. My controllers injected me with a hypnotic sedative, and they hypnotized me. Then they forced me to watch the New Adventures of Wonder Woman on television—no mean feat in a time when video recordings were uncommon—with a man and a woman who sought to guide my responses.
I believe that different boys were given different shows to watch, and I also believe that some boys were driven toward rape while others were driven toward homosexuality. Either tendency would make a subject vulnerable to control, blackmail, or extortion; and, in the 1970s, there was arguably more stigma as to sodomy than to sexual assault.
CIA loves to set up a “false bind” on a decision tree, so that a subject must choose between two unacceptable alternatives. Think of the man who asks you, “Shall we meet on Wednesday or Thursday? would you like to go dinner or see a movie? your place or mine?” when the real choice lies between rejection or acceptance. It’s a simple sales trick MK-ULTRA loves to use. In their demented minds, a man must be some kind of pervert; so it’s either a rapist or a homosexual. By the way, the controllers are both…. That’s why they favor anal sex—not to mention gang rape, which involves other “men” to egg them on (because they are cowards and homosexuals); the use of objects (because they are impotent); and the attempted debasement of a woman, whom they wish to destroy (because they envy her).
Wonder Woman describes the Nazis, “They are not like other men: They destroy what they cannot control….” Sadly, some degenerate women actually help them.
MK-ULTRA never worked with me. Even in the 1970s, my programmers had trouble. A person can fight suggestions even when drugged and asleep. That gives me hope.
My controllers wanted me to rape Wonder Woman, but I refused. Even worse, from their perspective, I identified with her. I was disinclined to homosexuality; I admired Wonder Woman; and I hoped to share her qualities.
In hypnotic sessions, we had comic exchanges like the following:
ME: Is she a hero? I want to be like her.I want to be strong.
THEM: This is a disaster.
ME: Wonder Woman can turn a plane, and you don’t want me to be like her? I thought you wanted me to be strong….
THEM: I don’t know what to do with him.
ME: I want to have glasses like that some day. Chrissy has glasses like Diana. Why can’t I have glasses?
THEM: We don’t want you to see us. You’re too smart. You remember too much….
Later I got those glasses, and to this day, I wear round tortoise-shell frames just like Diana Prince.
I refused to accept rape fantasies, so my female controller said, speaking of Wonder Woman, “Maybe she’s too much like his mother. What if we gave him someone younger?”
So they made me watch Wonder Girl, or Drusilla, played by Debra Winger, who appeared in three episodes of the New Adventures of Wonder Woman.
In the scene below, Wonder Girl goes on a double date with Wonder Woman. Her date tells her she looks pretty, and she tells him he looks pretty, too. Since to me, then as now, men and women are equal, and Wonder Girl responded in kind, I did not understand why it was funny. Maybe they gave me too many drugs…. One controller asked her partner, “Do you think he belongs in the other room?” He replied, “Let’s leave him here.”
Here is the scene. Note the dazed look in Lynda Carter’s eyes—indicating drugs, hypnosis, and mind control—not to mention Benny Goodman’s music in the background, often used in MK-ULTRA.
Then I identified with Drusilla, a good student who wants to learn. General Blankenship and Diana Prince teach her things. Again, I led my programmers to say, “Maybe he belongs in the other room….”
The woman controller, who was always the one I tended to trust and favor, told me, “I know you like Drusilla. I want you to identify with someone else.” Of course, she meant the Nazis who hold Drusilla captive in rape scenes like the following, but I just didn’t get it. They told me, under hypnosis, that the Nazi captain had something I wanted—obviously meaning Wonder Girl—but I thought they meant his tie. For decades to come I would wear a rep tie with a similar pattern.
Also, I acquired a mysterious impulse to learn German, enforced later when they programmed me to The Sound of Music, so I later earned my Zertifikat Deutsch als Fremdsprache from the Goethe Institute. I would go on to travel to Germany and Austria, and I still like their music and culture. I have also lived much of my life in the mountains. Much like the poppy field in The Wizard of Oz, to which others were programmed, the Austrian Alps became my “happy place.”
As the scum at CIA pushed me, harder and harder, toward rape, one of many women who betrayed me—as she betrayed herself, her sex, and her humanity—told me under hypnotic sedation:
There are some women you will protect.
There are others you won’t.
I want you to protect me.
You need to do things for me first.
Listen to him….
Again and again, the scum at CIA would give me rape suggestions under hypnosis, or other unacceptable commands, and a woman handler would say they would hurt her unless I complied. Fritz Springmeier and Cisco Wheeler describe how these subhuman degenerates will threaten a pet, child, or parent to enforce compliance from a “beta sex slave”—only to kill the pet or rape the human anyway. I have written about this elsewhere. Never make a deal with these scum!!!
Through MK-ULTRA, the trash love to turn good instincts into evil actions. The Illuminati and their slaves are subhuman degenerates, the enemies of humankind. These people are sick!
I didn’t know, so they got some suggestions into me. Here’s another MK-ULTRA colloquy, cuing on my female blonde handler, which I remember from soccer camp.
HIM: Do you ever watch “I Dream of Jeannie?”
ME: We don’t watch much t.v. at my house. One time my dad and I watched The Muppet Show.
HER: Who do you like in there?
ME: I like Animal I guess.
HIM: I want him to stay with me for now. Later I’ll give him a suggestion. All right. Put on your cleats. Go outside. We’ll talk about this later.
ME: Yes, master.
The suggestions took, however lightly. In bed, I have still have a tendency to address my partner as “woman” just like Animal, who remained my favorite character in The Muppet Show. CIA wanted an alter through which they could develop my wild side; they actually wanted me to become uncontrollable; and they wanted to direct that toward rape.
Following suggestions, I found myself attracted to Barbara Eden, on I Dream of Jeannie, who lived with an astronaut she addressed as master…. How’s that for sexual fantasy?
Think further that Captain Nelson served in the Air Force, a hotbed of MK-ULTRA mind control, which they call “the mission” rather than “the program.” They don’t call them “television programs” for nothing. CIA loves to use t.v. and film for mind control; so I encourage all readers to examine their own lives for connections between (i) fantasy, speech patterns, and their image of themselves, others, and the world and (ii) the shows they watched.
But let’s return to Wonder Girl, not to mention Debra Winger, the woman who played her. There was enough interest in the character to lead to talk of a spin-off. What were they going for?
Of course, there were the usual rape fantasies, this time directed at a fifteen-year-old sex object. There’s never enough perversion to satisfy the scum at the agency. They’re not happy if you fantasize only about raping a woman: they want you to rape a teenager, and they want you to do it in real life—not in your head.
The scenes shown in this video—where Wonder Girl is knocked out, wakes up in a room with a bed, and is knocked out again—were spread out over two episodes.
On Friday at eight o’clock, either your parents were out, or you were at home without a date, and the episode ended with Wonder Girl, locked in a room with a bed, a prisoner of the Nazis. Many male viewers spent the week lost in fantasies of the busty teenager’s rape—not to mention what would happen next Friday. It’s the same trick the CIA used with Lara Logan, where her rape was vaguely suggested in February, leaving room for fantasy, only to be described in greater detail three months later.
Debra Winger was twenty-three, but Wonder Girl was fifteen. The point was not only to push men into pedophilia—or to give boys someone closer to their age—but to speak to the girls wearing underoos. When Wonder Girl spins, and transforms into her alter, she morphs from a girl to a woman. The message is…she is ready for sex.
I have noted earlier, in my article on Lynda Carter, who played Wonder Woman, that Carter was the only t.v. star in the 1970s who not only appeared in a nude scene but did so before she appeared on television.
Guess who the second such star was. You got it. It was Debra Winger, who had her naked body fondled in the sexploitation flick Slumber Party ’57 before she morphed into Wonder Girl. ABC did not make these exceptions because they wanted two unknown actresses to star in the first show with a non-comedic female hero: they did so because CIA wanted men to lust after Wonder Woman and Wonder Girl. The agency doesn’t just control the news through OPERATION MOCKINGBIRD: they control everything you watch, and they watch you while you do it. With the internet, it’s even worse.
But let’s look closer at Debra Winger….
Like Lynda Carter, this person has PROJECT MONARCH written all over her.
When Winger was six years old, her family moved to Sepulveda, California, only twelve miles away from Woodland Hills, where Susan Ford was sexually abused and brainwashed under MK-ULTRA, as she describes in her book and I describe in my article on rape at the Playboy Mansion.
Winger instantly started showing signs of the ritual satanic abuse that characterizes the victims of CIA’s obscene PROJECT MONARCH. As soon as her family moved into Sepulveda, a hotbed of mind control, Winger began suffering from all varieties of raging “psychosomatic” afflictions, chief among them the belief she had throat cancer. As with many RSA victims, she was diagnosed as perfectly healthy, but her fears and complaints continued. For those with eyes to see, it is obvious that, like Susan Ford, Winger was sexually abused under MK-ULTRA. This child had a sore throat because a rapist repeatedly stuffed his penis in her mouth.
Like many children abused under the program, Winger often went unsupervised. Both parents worked, so she skipped school. She was rebellious and had a difficult childhood. She was arrested more than once “for nude sunbathing, and stuff like that.” Later, she enrolled in college with plans to earn a sociology degree. As Winger said, “I was going to rehabilitate juvenile delinquents of which I was one.”
Winger worked at Disneyland, where many children have been sexually abused and brainwashed under PROJECT MONARCH.
Fritz Springmeier and Cisco Wheeler have written extensively about Disney and Disneyland’s role in MK-ULTRA.
Disneyland and Disneyworld are world famous and the pride of America. They are also extremely important programming centers for the Illuminati to create total mind-controlled slaves. Disneyland is also involved with providing a place for rituals, porn and other satanic activities. In terms of deception, Disney movies and Disney Amusement Parks rate as one of the best deceptions. According to deprogrammed ex-Illuminati slaves, the Illuminati in the 1960’s needed to shift their programming away from the military bases, because too much publicity (heat) was shined on the military bases. Their goal was to have someplace that people from all over the world could come to without raising any suspicions, and a place which would be the perfect cover for many of their criminal activities.
According to a witness, the Illuminati Programmers got a big laugh out of using Disneyland as a major Illuminati base for criminal activity. Under the disguise of entertaining the world, they carried out money laundering, child slavery laundering, and mind-control. They nick-named Disneyland “the little syndicate of mind-control.” When a child of 3 or 4 was kidnapped, they could torture the child and then put him on a ride such as a ferris wheel or carousel that: a. created dissociation from the pain, while also b. going along with some fairy tale programming script.
An abducted child while waiting to be picked up from one Illuminati non-parent caretaker by another, could be kept happy and distracted while waiting for the pickup. For years, Disneyland was an Illuminati center for many of their world-wide activities.
Likewise, Susan Ford describes her abuse at Disneyland in great detail, the following being just one instance.
When I was five years old my mother and father took me to the newly-opened Disneyland in Anaheim, California. As we walked down Main Street, we ran into Walt Disney and my father stood aside as Walt Disney, larger than life to me, bent down and shook my hand. He told me that if I would write to him he would write back to me. I didn’t consciously remember anything else after that. What happened next, though, as I later recalled, was that Walt Disney looked at my father with eyes that said important things I couldn’t understand. My father then led my mother in the other direction and I was left alone with Walt Disney. My parents never said goodbye or anything, they just left me and walked away. I was terrified and confused at realizing that my parents just disappeared. Walt took me to an office, lifted me up on a big desk that had a glass piece on top and told me that he was my real father. He said the Mickey Mouse Club was my real family–where I really belonged. Everyone was always telling me I belonged to a different family than my parents and I didn’t understand, it was all very confusing. Walt Disney seemed nice but I wasn’t with him very long. He called another man in and that man took me by the hand and led me away. This man was a very bad man and he really scared me. He took me into another room and gave me those viewmaster box glasses to look into. He showed me pictures in them that were so scary that other parts of me had to come to see them. It was too much for a little girl to see. Dead things–cut up bodies, dead cats skinned with big eyeballs and their tails cut off, people cut up, etc. We had that toy at home but mine had cartoon pictures in it. This event involved several of my personalities.
Next, the man took me to scary rides and poked me with needles in my waist and legs while he said things during the Alice in Wonderland ride, like, “This is not really happening. I am not really sticking this needle in your leg. You are just like Alice. You also ate the large mushroom and feel funny– this is not real.” He kept laughing and acting like all this was fun and games and really amusing, but it was terrifying and confusing to me, and I couldn’t understand why he was hurting me. Parts of me split off as they withstood the abuse and I pushed the experiences deep into my subconscious mind as my programming dictated.
Then the man took me to Mr. Toad’s Wild Ride and sexually abused me by taking off my panties and pushing me up and down on top of his penis while we were going through the dark, enclosed ride. During many years that followed, I got hurt on Mr. Toad’s ride. I was instructed to be extra sexy and wild and crazy in order to be “good” and not get hurt. If I did it right and performed on cue, then I didn’t get hurt when it was over. When we came out into the light from the darkened ride, it was over and if I did it right I could stop and go back to my Mommy. If I did it wrong, I had to do it all over again until I did it right. They always hurt me real bad if I made a mistake. I tried my best. It seemed like I had to stay at Disneyland for a long time, but at the end of the long day, I got to have a pretty balloon that I looked at as I laid in the back seat of the car all the way home. I was devastated, exhausted and out of it during the ride back to Woodland Hills, but looked up at the pretty Mickey Mouse ears balloon or the Mickey Mouse balloon within a balloon, before I finally fell into a long deep sleep.
It therefore does not come as a surprise that Debra Winger not only worked at Disneyland but lost her memory there. When she was eighteen years old, while working as one of the little troll creatures at Magic Mountain, she fell from the back of a friend’s pickup truck and suffered a critical head injury—a cerebral hemorrhage and damaged optical nerve. At least that’s what she remembers….
Winger was in and out of hospitals for more than a year, when CIA would have had further opportunity to implant her with the technology below.
At times, Winger thought of killing herself, and she had what she interpreted as psychedelic experiences. One book quotes her as follows,
She discovered that she could “see” in bizarre ways, that she could view “the inside of my body. Literally. It was a rather psychedelic experience, but true nonetheless. Plus, I was stuck there looking at myself. I came away knowing that noting is as it seems. Like in Chinatown.
Winger’s focus on Chinatown indicates MK-ULTRA abuse, since, like many of John Huston’s films, the story treats the Illuminati themes of rape, incest, and conspiracy. Witness the following scene.
If we believe Winger, this scene, along with the same sort of abusive sexual training endured by Susan Ford, was picked up in An Officer and A Gentleman. Winger spoke of scenes the director allegedly cut from the film.
I can never be totally pleased because it’s not the full performance I gave. People will never know, for instance, that Paula’s father was violent with her. We shot a scene where it was clear that if I did something wrong he would slap me across the face and push me down. And then there was a scene where the point was made that I had a relationship with my sisters where I was, in effect, their mother.
But to return to the “accident” at Disneyland, Winger went on to describe the “most psychotic part” of her recovery, during which she was partially paralyzed and blind for ten months.
There’d be someone down the hall, and they’d reach out, and I thought they were going to strangle me. So I said, let me be blind!
Many survivors of MK-ULTRA feel this way. People forget abuse because they do not want to recall painful memories, while others refuse to acknowledge the reality of conspiracy theories. Ignorance is bliss. I can’t tell you how many times I was brought out of a hypnotic session listening to a female voice tell me “It’s not good for you to remember this….” Or, following her lead, saying, over and over, “I don’t want to remember this….”
After her recovery, Winger “decided” to become an actress over the objections of her parents. In her first acting job, she played Vicky the Hitchhiker in a safety film designed to warn young girls against thumbing rides with strange men. Then she went on to appear nude in Slumber Party ’57, and finally she landed in Wonder Woman, which I discuss above.
As through much of her career, Winger was famously difficult to work with because of her emotional problems. Lynda Carter describes her below.
When not fighting with Lynda Carter, or Richard Gere, Debra Winger would feud with Shirley MacLaine. After frequent shouting matches, one reportedly slapped the other.
Winger had a psychotic preference for “method acting”—losing herself in her roles (just as MK-ULTRA victims get lost in their alters). It is always dangerous to lose self-awareness, but method acting encourages actors to do just that—making them easy prey for mind control. I would advise all readers not only to be aware of moments when their lives and personae parallel film or television but also, always, to hold something back. Never give yourself to an impulse. That’s how they get you.
As for Winger’s “method acting,” while making Terms of Endearment, the actress insisted that MacLaine and her parents call her by her character’s name. Earlier, when she made Urban Cowboy, Winger spent the night in a graveyard because the scene the following day concerned a funeral. She also decided that her character shouldn’t wear underwear, so she stopped wearing panties.
In Winger’s most famous scene, she rode a mechanical bull. Comparing it to another sex scene in which she acted—edited so the film could get an R instead of an X rating—Winger said,
Most people think I was most naked in the love scene I did in An Officer and A Gentleman, but actually I felt more raw and naked in the scene in Urban Cowboy where I ride the mechanical bull real slow to make my husband jealous.
Nothing says eroticism like using a piece of machinery to make your husband feel insecure….
Despite her rising career, Winger had no money. Paramount paid her a pittance for her work in Urban Cowboy, so she lived in a cheap, tiny room in the Chateau Marmont, using borrowed money to pay her rent. MK-ULTRA likes its victims crazy, lonely, and broke.
As Winger said, “My imagination doesn’t stop me from doing anything sexually.” You can see that’s true from this photograph showing her topless french-kissing her dog. Not content to use her to push pedophilia as Wonder Girl, or sex with machines in Urban Cowboy, the perverts at CIA used her to promote bestiality on the pages of Life Magazine.
Here’s Winger with some more cartel signaling. I have seen many celebrities flash the Eye of Horus before, but I have never seen anyone do it with their foot….
In an interview with Playboy, Winger discussed her sexuality, apparently preferring fantasy to reality, a process I have addressed elsewhere.
Winger described the connection between fantasy and reality, vital to PROJECT MONARCH, as follows:
We can actually live out those fantasies—and I define the word as imagination rather than hope for some event to come true….
I don’t find that my imagination stops me from doing anything. However, the fantasy itself can be so satisfying that I will just enjoy it for what it is. A fantasy is like having a secret with myself, which I love. Sometimes, I let the secrets simmer for a few years, or months or days; sometimes only hours. Sometimes I try them out and am real surprised at how great they are. I am also careful to differentiate between fantasy and reality, so that I don’t feel bad about my life’s never coming up to my imagination
On the other hand, Winger said of her part in Terms of Endearment—a character one critic described as being in “in a sexual trance”—that she was happy to get the role because she had enough of this “sex kitten shit.”
Otherwise, much like a victim of the NXIVM cult, someone who engages in cutting, or otherwise mutilates themselves with piercings and tattoos, Winger has a masochistic relationship with the many physical scars that cover her body.
On the last day of shooting, if I don’t have one [a scar], I’ll scratch my arm or something. I have a fake tooth from Urban Cowboy. I have a puncture wound on my leg from Cannery Row. I also have, uh, something more interesting from that film. I had a problem with my eye on An Officer and A Gentleman. I also have mental scars from that film. They’re like an open would. Is till can’t talk about it. There must be more. I guess you know you’ve worked a lot when you can’t remember all the scars.
The New World Order used Winger sexually and in film for years; but, as she grew older, they began to use her in a different way. Winger promoted pedophilia, this time not by dressing up as a fifteen-year-old Wonder Girl, waiting to be raped, but by speaking against the prosecution of Roman Polanski, who raped a thirteen-year-old.
Despite her defense of a child molester, Winger had no problem appearing in a benefit for the Children’s Defense Fund (The Wizard of Oz in Concert: Dreams Come True). MK-ULTRA loves to use Oz, not to mention Alice in Wonderland, for mind control—something on which I have touched in my article on Sarah Palin, more fully described by Fritz Springmeier and Cisco Wheeler.
Let’s not forget: Through The Looking Glass was written by a child molester.
The Children’s Defense Fund (CDF) has the stated goal of improving federal policies concerning child welfare and public education systems. Among its other programs, it advocates “gun violence prevention”—code for gutting the Second Amendment and disarming the American people as part of the New World Order. In this regard, I have written about CIA’s PROJECT ORION, the false flag attacks on American schoolchildren, and the media’s attempts to play them up under OPERATION MOCKINGBIRD.
Hillary Clinton, a Grande Dame of the Illuminati, also served as head of CDF’s board. As Clinton said,
You know, when I left law school, my first job was with the Children’s Defense Fund, and for all the years since, I have been focused on how we’re going to un-stack the deck, and how we’re gonna make it possible for more people to have the experience I had.
Leaving aside the Clintons’ associations with known child molester John Podesta, human trafficker Laura Silsby, and the ritual sacrifice of children combined with the extraction of adrenochrome from their bodies, this is pure nonsense. Under the guise of welfare reform, the Clinton administration worked with Republicans to gut social services, ignoring their own senior officials’ warnings that, by doing so, they would plunge over a million children into poverty. Even CDF founder Marian Edelman said, of the Personal Responsibility and Work Opportunity Act (PRWORA), that Clinton’s “signature on this pernicious bill makes a mockery of his pledge not to hurt children.”
Like Clinton, Winger is held up as an icon of feminism. They even made a film about her, Searching for Debra Winger, discussing her hiatus from screen roles and featuring “interviews with other leading actresses who discuss the various pressures they face as women working in the film industry while trying to juggle their professional commitments with their personal responsibilities to their families and themselves.” As Entertainment Weekly described the film, “the discussion of universal women’s issues is articulate and frank.”
This is not much different from the tendency I have noted in my article on Lynda Carter and Wonder Woman: fake feminism.
A woman is victimized, subjected to depraved sexuality, and brainwashed, and yet the New World Order holds her up as a model for others, claiming she is a strong individual suffering from societal sexism that can be fixed only when government controls every aspect of our private lives.
There is nothing admirable about acting out rape fantasies, riding mechanical bulls, french-kissing dogs, or defending child molesters; but this is the “freedom” NWO would sell us, while our voices are labeled as sexist.
Don’t fall for it!
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