THE DOMESTICS (2018) Mike P. Nelson.
The Domestics is a putrid puu-puu platter of the New World Order agenda with aspirations for a Luciferian future, plainly depicted in the poster art which reimagines the American Flag as a symbol of Satanic patriotism. The film offers a checklist of real world depravities and depicts a wet dream scenario where the evil intentions of decimating the global population is carried out through the spraying of lethal clouds of black poisons from airplanes—as if the white version of what they spray on us today isn’t already doing that. Who is to say that the nanoparticles of barium, aluminum, et al in chemtrails, working in conjunction with 5G would be any different? With Wuhan as the epicenter of Covid-19 and the first city to roll out 5G, you have to wonder.
Regarding the plot, I will only say that it’s about a troubled couple that is trying to get from Point A to Point B without getting killed by marauding post-apocalyptic gangs. Everything else is just an opportunity to flaunt garbage symbolism, push social agendas and to dismantle the sacredness of family and the meaning of love. It’s not enough that most people in the film were killed off quickly, it’s as if the glimmer of humanity that survived by remaining inside, referred to as the domestics, needed to be killed off as well.
As usual, the man is portrayed as an incompetent loser. We never see it, but we are reminded of this by his bitter and ungrateful wife. Against his better judgement, but to save his marriage, he agrees to travel outside of a safe area to appease this Hollywood-styled bitch of a woman who cherishes a newly found jacket adorned with a dragon on the back more than the considerable contributions and efforts made by her husband. Her loathing for him is summed up by her whining about how he used to leave her sweet notes and now he doesn’t. But he hasn’t changed, and later while seeking refuge in an abandoned house, he does leave her notes which direct her to a record collection that she discovers has her favorite album in it. Shockingly, but not surprisingly, amongst the Herb Alpert and Perry Como, there it is, her jam, the hateful doom and gloom sounds of Goatsucker, complete with Baphomet cover art! We are then forced to listen to this noise as she dances around and literally regains her bearings and lightness with the Now Sounds of Lucifer. Seeing this troubled couple is like the nasty Google searches that depict white couples always in some state of conflict (look it up!). This racist propaganda is contrasted here in the same way that Google does, by depicting a black couple as happy, loving, clean and the perfect antidote to the seething unrest of the dreaded, evil white people. The programming of course being that you can judge people by their skin color. Insidious.
The movie is so littered with New World Order symbolism and programming that they become the redundant tags of a narcissistic graffiti artist who can’t help but put his pyramid and All-Seeing Eye symbol everywhere—and it is seen constantly. But more interesting are the symbolic references to mind control. And as we so often do, we see butterflies, this time on the curtains of a child’s room which refer to Monarch programming. It’s no accident that we see this while a child’s puzzle is being put together, another reference to the piecing together of a fractured mind. (Note, this was first written in Spring 2020: See the Covid-19 ‘Panic Videos’ of suspected MKUltra handler Ellen DeGeneres as she struggles with puzzles. Is she communicating that she can no longer manage her stable?)
The ‘repair’ or reprogramming of MKUltra victims and/or other varieties of mind control are often seen in celebrities after a public breakdown. Many times after being carted off for ‘treatment’ or initiation, they will return with bleached blonde hair. We’ve seen it with Kanye West, Katy Perry, Nicki Minaj, Miley Cyrus, Eminem, etc. … and is it a coincidence that these people also profess to have alter egos? With this handy real world information, a new character will make more sense. He is a psychotic man with bleached hair who enjoys a bit of ‘ultraviolence’, a reference to A Clockwork Orange, Stanley Kubrick’s exploration of illuminati practices, trauma-based mind control and MKUltra. This poster child for mind control even goes so far as to insult every viewer who may not be picking up on what he’s actually saying, which is virtually acknowledging the recurring theme of revealing clues of evil to the clueless. This is the sociopathy of Hollywood.
This movie really is just a continuous foisting of garbage geared at normalizing and conditioning the viewer into accepting the breakdown of humanity as being a progression of nature. There is a grocery store called Evergreen, a word associated with trafficking as well as the CIA-run chemtrail operation—remember, this film started with black chemtrail poisoning. It is also the Secret Service name for Hillary Clinton.
Our suspicions about trafficking are confirmed when we are shown a room full of women being held against their will. There is also cannibalism, presented in the most disarming way by the most hospitable of people, far removed from the vile connections we’d make of the vermin in The Hills Have Eyes, these cannibals are Google safe and so is the practice of eating human flesh.
There are also symbols that recall the Eyes Wide Shut-style Illuminati parties of the Rothschilds with people here wearing deer antlers and donning animal masks similar to those seen at elite globalist gatherings and pagan occult rituals.
The Domestics is a playbook of evil globalist dreams and attempts to redefine what a loving relationship is supposed to be and how once it’s been destroyed and made a farce, then we can say it’s fixed.
This review first appeared in the print version of Victims of Cinema. The first 50 reviews can be obtained HERE.