Hollywood is a machine built on trauma — a sick assembly line that chews up children and spits out puppets for the global elite. And every once in a while, one of those puppets breaks script and drops something that blows the lid clean off.
That’s exactly what Ariana Grande just did when she admitted she was a child prostitute for industry elites as a child star at Nickelodeon.
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Her short film Better Days Ahead is not an art piece. It’s a confession. It’s evidence. A raw, disturbing cry for help from someone who was used, programmed, and paraded since childhood.
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Packed with Monarch mind control cues, MK Ultra symbolism, and layered occult messaging, this film doesn’t hint — it screams. Butterflies, checkerboards, fractured mirrors, identity death — it’s the full trauma blueprint Hollywood uses to build and break its stars. And Ariana lays it all out.
It’s not subtle. It’s not fiction. It’s a direct line to the abuse pipeline that runs from Nickelodeon to the Grammys, from child auditions to child auctions.
The handlers, the programming, the rituals — it’s all there.
We’re going to break it down, frame by frame, and expose exactly how Brighter Days Ahead pulls the curtain back on the satanic machine that’s been operating in plain sight.
This is not entertainment. This is a warning. Stay with us.
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Child stars in Hollywood aren’t just groomed—they’re systematically abused, passed around like commodities, and it’s an open secret everybody in the industry knows but won’t touch.
Ariana Grande is walking the same dark path paved by Britney Spears, Justin Bieber, Miley Cyrus and other child stars groomed by the machine, chewed up by the system, and left to rebuild themselves under constant surveillance.
Some make it out alive. Most don’t.
In a recent interview, Grande said that she is “still processing” her experience at Nickelodeon while strongly alluding to some traumatic events she cannot fully disclose:
“I think the environment needs to be made safer if kids are going to be acting and I think there should be therapists. I think parents should allowed to be wherever they want to be and I think not only on kids’ sets.”
Let’s not sugarcoat it — Ariana Grande, like many child stars, was raised in a vipers nest of predators. From her early days at Nickelodeon, she was surrounded by adults who weren’t just negligent — they were dangerous.
And when she “graduated,” she didn’t escape — she just transformed. From exploited child to hyper-sexualized pop product, still under lock and key, still controlled by the same machine.
Everything about her career — the visuals, the messaging, the performances — is drenched in trauma-based mind control symbolism. This is Monarch programming in plain sight.
Ever since she began her bizarre friendship with Cynthia Erivo—the Wicked actress known for her witch-like energy and occult references—Ariana began acting… different. Fans noticed. So did the press.
Then came the 2025 Red Carpet moment. When asked about her future plans, Ariana stared blankly into the camera and said: “I had them removed. Memory clinic.” Was it a joke? Performance art? Or something far more sinister?
Let’s talk about the first layer: No Tears Left to Cry—the prequel music video to Brighter Days Ahead that introduced fans to “Brighter Days Inc.” the facility where Ariana’s alter-persona “Peaches” goes to have her memories wiped.
Anyone who knows anything about Monarch programming will understand that Peaches is Ariana’s mask. Her public face. Her dissociated self.
The video is pastel-hued dystopia and one of the most blatant Monarch showcases ever produced. Dissociation, fragmented realities, upside-down worlds — it’s not a music video, it’s a manual for MK Ultra conditioning.
Throughout the video, Ariana has a circular “decoration” surrounding one eye, creating a constant one-eye sign. The message: This is all inspired by the occult elite’s trauma-based mind control.
Peaches signs herself away to forget everything…
But the memories she chooses to keep are telling: a fractured home life, a mysterious father figure who fades in and out of her mind, and flashes of childhood that don’t quite add up.
Then came Brighter Days Ahead—a 26-minute visual spiral into occult physical and mental trauma directed by Christian Breslauer, an industry favorite who worked on Doja Cat’s super demonic video Demons.
The premise? 70 years in the future, Brighter Days Inc has a new service: one last chance to relive—and erase—your core memories.
Ariana’s alter-ego Peaches returns, this time as an old lady with butterfly clips and other Monarch symbols bejeweling her body.
And this time, the memories are hauntingly personal. They are from Ariana’s real life, not Peaches’.
Grainy home videos. A father figure who, for many, seemed loving… until you start looking closer. In the dreamlike logic of the film, he becomes the founder of the memory clinic. The handler. The one who programs her.
Two of the four memories feel real. Too real. They echo public interviews Ariana gave years ago about estrangement and emotional struggle. But the other two? Total dissociation. Reality bends. Time collapses. Monarch and MK Ultra symbols pile up—teddy bears, floating corridors, spinning rooms.
In one scene, Peaches walks through a crumbling dreamscape, singing Supernatural – a “love song” that is more about a handler controlling a slave and, on a spiritual level, demonic possession.
It’s like supernatural
This love’s possessin’ me, but I don’t mind at all
It’s like supernatural
It’s takin’ over me, don’t wanna fight the fall.
That’s not just poetic. It’s textbook trauma language. It’s Monarch-level disassociation.
Then, we discover the source of the destruction she is walking through: A massive UFO. And she gets abducted, in “arch of hysteria” position, which is historically associated with demonic possession.
The full moon in the background adds to the occult context of the scene.
But they are not literal aliens. They’re symbolic. The trauma was too much, so her psyche splits. She floats, detached. Dissociated.
Then the film gets darker.
We hear her singing:
“I don’t remember too much of the last year
But I knew who I was when I got here
‘Cause I’m still the same but only entirely different
And my lover’s just some lines in some songs, mm”
And then it clicks. This is the programming.
This is her transformation from Ariana into Peaches. Not a stage name. An alter-ego. A carefully constructed persona to mask the pain, shield the core, serve the corrupt and depraved system.
On several occasions, Ariana has been open about her experiences with dissociation. In her song “Get Well Soon,” about the trauma resulting from the terrorist attack at her 2017 Manchester show, she mentions how she felt “disconnected” and “floating” for months.
And the man behind it all? Her own father. The founder of the clinic. The technician. The handler. The piano player.
We understand that Ariana’s father is the founder of Brighter Days which has all kinds of disturbing implications, notably that he’s her MK handler.
Not unlike Dr. Frankenstein, the doctor gathers body parts to rebuild Ariana or, more precisely, her alter-persona Peaches.
The doctor “builds” Peaches by stitching up multiple body parts. This is getting weird and creepy.
For a few seconds, the doctor’s eyewear creates an obvious one-eye sign. The message: None of this is sweet; it is all about Monarch mind control.
As the doctor plays piano, Ariana gets electrocuted. This is a not-so-subtle reference to electroshock therapy – a staple in Monarch mind control.
The movie ends with Peaches all stitched up, singing alongside the doctor who created the clinic that will end up erasing her memories.
This isn’t art imitating life. This is life masked as art. Ariana is reborn. Reprogrammed. Ready for another cycle.
The fans say it’s a triumph. But the symbolism says otherwise.
This was a ritual.
And if you’ve followed the pattern – Britney Spears, Amanda Bynes, and now Ariana Grande—you already know how this story is likely to end.
Brighter days ahead? Maybe for the machine. But for the soul trapped inside Ariana?
Not a chance.
For those caught up in the system, even those who appear to be winning are nothing more than industry slaves.
Singer Alanis Morissette is another star who blew the whistle on how the entertainment industry is literally “run by pedophiles” in an explosive new video.
According to Morissette, she was forced to have sex with multiple execs in the entertainment industry when she was underage.
“It took me years in therapy to even admit there had been any kind of victimization on my part,” Morissette said. “I would always say I was consenting, and then I’d be reminded like ‘Hey, you were 15, you’re not consenting at 15.’ Now I’m like, ‘Oh yeah, they’re all pedophiles. It’s all statutory rape.”
Former Disney child star China McClain understands what the likes of Ariana Grande and Alanis Morissette have been through; she says that it’s an open secret that pedophilia and Satanism in Hollywood are rampant.
Then there is Kaya Jones, a former member of the Pussycat Dolls, who confessed her girl group were literally used as prostitutes, pimped out by record industry executives, forced to perform sexual favors in order to stay at the top.
In a series of scathing messages on Twitter, Kaya Jones exposed the Monarch system of control, confessing that her “handlers” forced her and other band members to have sex with “whoever they say“.
“How bad was it? People ask—bad enough that I walked away from my dreams, my bandmates & a 13 million dollar record deal. We knew we were going to be #1.”
Jones also called out the “den mother” of the group without naming names, writing, “I want the den mother from hell to confess why another 1 of her girl group girls committed suicide? Tell the public how you mentally broke us.”
Kaya Jones also confirmed that the record industry uses sex crimes as leverage against major players in the industry.
Jones continued, “To be a part of the team you must be a team player. Meaning sleep with whoever they say. If you don’t they have nothing on you to leverage…Yes I said leverage. Meaning after they turn you out or get you hooked on drugs they use it against you. Correct. Victimizing the victim again.”
Kaya also explained why so many people are afraid to speak out against the powerful industry executives, even though many of them are performing sadistic acts against underage children.
“Why don’t we report it? Because we were all abused! I personally have been warned if I tell I will…you know end up dead or no more career.”
This warning is not a joke. Think of the number of celebrities who were found dead in bizarre and suspicious circumstances, all of whom had one thing in common: they were in the process of blowing the whistle about the elite.
We are talking about Anne Heche, Avicii, Chester Bennington, Chris Cornell, Anthony Bourdain and more. If you are surprised the Hollywood elite are so prepared to murder their own, you need to understand something.
As actor Tyrese Gibson explains, there is a battle for your soul raging as we speak, and the entertainment industry is overflowing with Satanic pedophiles.
It’s time to dismantle this 9,000-year-old Satan-worshipping and blood-drinking pedophile cult.
Here at the People’s Voice we are determined to continue exposing the elite but we can’t do it by ourselves. Subscribe to the channel on Rumble, follow me on X, and join the People’s Voice Locals community to support the channel, join our amazing team and gain access to exclusive and uncensored content. I hope to see you there.
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