The Matrix, Terminator 2, The Fifth Element, Jupiter Ascending, They Live—and the fashion codes hiding inside the apocalypse breakdown of their system.
At some point you have to ask:
Why do all these fucking movies keep telling us versions of the same story?
A fake reality.
Machines taking over.
Humans disconnecting from nature/source.
Elite hierarchies treating people like resources.
Non-human beings hiding inside the system.
Surveillance disguised as convenience.
And somehow, every time, humanity has to remember what the fuck it actually is.
These are five of my favorite warnings.
And obviously, because this is Narcissist, we’re also discussing what everyone wore while their system went to shit.
1. THE MATRIX
have the meat showing in pic//
THE WARNING: DO YOU EVEN WANT TO WAKE UP?
The Matrix is simple.
You live inside a reality you think is real.
It isn’t.
Human beings are plugged into an artificial world while machines use their physical bodies to keep the larger system running.
Everyone thinks they’re awake.
They’re not.
And one of the most important characters isn’t even Agent Smith.
It’s Cypher.
Cypher wakes up.
He learns the truth.
And basically says:
Actually, can you put me back to sleep? The steak was good.
THAT is the fucking warning.
What if people don’t actually want to wake up?
What if they would rather be comfortable?
What if they know something is wrong but going back to sleep is easier than changing their entire understanding of reality?
Everybody says they want the truth until the truth fucks up brunch.
My position is simple:
We’re in a simulation.
You are plugged in the astral realm.
And once you realize you’re inside one, you stop moving through it like a passive character.
You start paying attention to the programming.
Language.
Symbols.
Fear.
Repetition.
Conditioning.
Algorithms.
What gets rewarded.
What gets punished.
What everybody has been taught to believe is possible.
You start manipulating your relationship to the simulation instead of letting the simulation manipulate you.
That’s why waking up matters.
Once you see the code—
good fucking luck pretending you didn’t.
FASHION MOMENT: KYM BARRETT BUILDS THE UNIFORM OF AWAKENING
Trinity.
Obviously.
Black. Gloss. Tiny sunglasses. Severe silhouette. Slick hair. No unnecessary fucking ornamentation.
Costume designer Kym Barrett created The Matrix wardrobe, designing clothes that had to feel futuristic while allowing actors to move through martial arts, wire work and action sequences.
That practicality became an aesthetic.
Inside the Matrix, Neo, Trinity and Morpheus aren’t simply getting dressed.
They’re essentially creating avatars.
Long coats.
Sharp tailoring.
Reflective black surfaces.
Sunglasses indoors because apparently escaping simulated reality also gives you an optometrist exemption.
Fashion becomes psychic armor.
And there’s an important connection we’ll come back to:
Kym Barrett also designed Jupiter Ascending.
Same designer.
Completely different language.
The Matrix strips power down.
Black.
Controlled.
Almost monastic.
NARCISSIST VERDICT
The Matrix asked whether humanity would wake up.
My question is worse:
DO YOU EVEN WANT TO?
2. TERMINATOR 2: JUDGMENT DAY
THE WARNING: DIVINE FEMININE VS. TRANSHUMANISM
This is the warning happening right fucking now.
Terminator 2 is obviously about machines becoming powerful enough to turn against humanity.
But underneath that is the war I keep talking about:
DIVINE FEMININE VS. TRANSHUMANISM.
Look at Sarah Connor.
Womb-an.
Mother.
Womb.
Instinct.
Protection.
Love.
Rage.
Muscle.
Nature.
And what is coming after her?
The machine.
We live in an inverted world where the female body and the womb—the creator—are constantly treated like something inconvenient, outdated or replaceable.
They aren’t.
YOU CANNOT REPLACE THE WOMB.
There is one original creator.
The void.
The darkness.
The feminine.
The womb.
Everything comes through her.
In my cosmology, the entities that are in charge want you disconnected with your heart chakra and source and closer to technology, because a human being disconnected from the heart is much easier to control.
Keep people away from nature.
Keep them away from who they really are.
Keep them staring at screens liike mkultra’d zombies.
Keep them sedated by toxic food, polluted air, synthetic shit wrapped around their bodies, endless stimulation and, for some people, medications that can leave them emotionally blunted.
Keep them disconnected.
Because what happens when the heart comes back online?
What happens when the divine feminine remembers what she is?
What happens when Gaia says:
Actually, get the fuck off me?
Earth, in my spiritual cosmology, is the heart of the universe.
The crown jewel of the galaxy.
And what happens here matters.
I see the battle over technology, embodiment and consciousness as bigger than one planet because humanity is standing at a fork:
MACHINE OR HEART?
CONTROL OR NATURE?
ARTIFICIAL OR ORGANIC?
PRISON OR SOVEREIGNTY?
The transhumanist future says:
Put more technology into the body.
Move farther from nature.
Turn consciousness into data.
Make biology something to overcome.
Connect everything.
Upload everything.
Measure everything.
The Divine Feminine says:
GO BACK TO THE FUCKING SOURCE.
Water.
Sun.
Blood.
Soil.
Animals.
Plants.
Creation.
Instinct.
Heart.
Gaia.
This is why Sekhmet and Sophia matter so much in my own Divine Feminine framework.
Sophia is wisdom.
The feminine intelligence that remembers.
Sekhmet is the lioness.
Protection.
Destruction.
Restoration.
The Divine Feminine isn’t some passive pastel goddess sitting on a fucking cloud.
She creates.
She destroys what threatens life.
Then she restores.
That’s the energy returning now.
The Divine Feminine is back.
The children are protected.
The womb is protected.
Gaia is protected.
And the machine does not get the final word.
Which brings me to my fucking cyborg story.
If you’ve been following Narcissist, you already know I’ve told you about someone connected to an elite family whom I describe as transhuman/cyborg-like.
I told you about what I experienced as an energetic hook.
And I told you what I did.
I CUT IT.
To me, that interaction became a tiny blueprint of the larger thing I’m talking about.
Machine versus Divine feminine.
Hook versus sovereignty.
Connection versus disconnection.
Something trying to attach itself—
and the Divine Feminine saying:
Absolutely the fuck not.
That’s why I keep calling it my sneak peek into 2029.
In my spiritual cosmology, there is also another possible human timeline: humanity choosing machinery over Gaia until it loses what made it human.
That is how I read the Grey archetype.
A future humanity that chose machine over heart.
Everything flattened.
No womb.
No real feminine.
No individuality.
No organic creation.
Just the same grey body reproduced over and over.
And then obsessed with the thing it threw away:
life.
Fertility.
The womb.
Organic creation.
That’s not evolution to me.
That’s the nightmare.
This timeline?
We’re correcting it.
Gaia is in control.
The heart comes back.
The feminine comes back.
And I am here, in my own story, as part of that return.
Blue Star.
Blue Avian.
Elemental vampire.
Divine Feminine.
I’m here to kick some transhumanist ass.
FASHION MOMENT
Costume designer Marlene Stewart stripped everything down.
Sarah Connor:
Black tank.
Combat pants.
Boots.
Muscle.
Arnold:
Leather jacket.
Black shirt.
Sunglasses.
Stewart said the costumes needed to look real while never interfering with the action. (Los Angeles Times)
That’s exactly why it works.
Sarah doesn’t need futuristic couture.
Her body is the armor.
NARCISSIST VERDICT
The machine can calculate.
The machine can copy.
The machine can optimize.
But it cannot become the original creator.
THE BODY IS NOT THE BUG.
THE WOMB IS NOT OBSOLETE.
THE HEART IS NOT OBSOLETE.
GAIA IS NOT OBSOLETE.
Divine Feminine:
still fucking here and rising…Don’t you feel it?
3. THE FIFTH ELEMENT
THE WARNING: LOVE IS THE FUCKING FIFTH ELEMENT
And then The Fifth Element basically comes in and answers Terminator 2.
Humanity has built everything.
Flying cars.
Mega-cities.
Weapons.
Machines.
Artificial environments.
Technology everywhere.
And when the universe is about to get annihilated—
none of it is enough.
What saves everyone?
Leeloo.
A womb-an.
The Fifth Element.
And what activates the Fifth Element?
LOVE.
HELLO?
You built the entire technological future and still needed the fucking heart chakra.
That’s the movie.
That’s why this fits directly into my Divine Feminine versus transhumanism argument.
I read Leeloo as:
Woman.
Aether.
Womb.
Life.
The Divine Feminine.
The element that connects all the other elements.
Earth.
Air.
Fire.
Water.
And then aether:
the force moving through everything.
Leeloo is immensely powerful, but power alone isn’t enough.
She loses faith in humanity.
She sees war.
Violence.
Destruction.
And asks the obvious question:
Why the fuck should I save these people?
And the answer is love.
The Divine Masculine doesn’t conquer the Divine Feminine.
He doesn’t replace her.
He doesn’t mechanize her.
He meets her.
Korben and Leeloo come together.
Masculine and feminine.
And the heart activates the weapon.
Love wins.
Very inconvenient for the death cult.
FASHION MOMENT: JEAN PAUL FUCKING GAULTIER
This is the one fashion section I’m refusing to make tiny because what Jean Paul Gaultier did here was fucking insane.
Gaultier didn’t just design Leeloo.
He basically designed civilization.
More than 1,000 costumes were created for the film, and fashion historian Thierry-Maxime Loriot estimated that Gaultier may have made roughly 5,000 sketches while narrowing down the final designs. Gaultier’s attention went all the way into the crowd scenes. (Dazed Digital)
Milla Jovovich has said he designed every actor and every extra, describing the workload as Herculean. (Vogue)
Correct.
Because apparently Jean Paul Gaultier looked at the 23rd century and said:
Nobody is going outside looking mediocre.
Leeloo’s white bandage look.
Orange hair.
Orange harness.
Gold leggings.
Ruby Rhod in leopard.
Extreme collars.
Plastic.
Fetish.
Lingerie.
Uniforms.
Color.
Skin.
Chaos.
Instead of imagining the future as sterile silver robots wearing identical bodysuits, Gaultier imagined humans becoming more fucking expressive.
Even surrounded by machinery—
people are still decorating their bodies.
Still playing.
Still sexual.
Still strange.
Still human.
That’s why the clothing matters to the larger message.
T2 strips humanity down to survival.
The Fifth Element lets humanity explode back into life.
NARCISSIST VERDICT
Humanity built everything.
And the final missing technology was:
LOVE.
Cute machinery.
You still need the Divine Feminine.
4. JUPITER ASCENDING
THE WARNING: FIND OUT WHO THE FUCK OWNS THE PLANET
Now we get to the movie that made me go:
HOW THE FUCK DID NOBODY TELL ME ABOUT THIS?
Because Jupiter Ascending does not gently introduce its concept.
Earth is basically property.
Human civilization exists inside a massive cosmic hierarchy.
Powerful dynasties own planets.
Populations are resources.
And humans are literally harvested to produce a substance that helps the elite extend their lives. That’s the actual fucking plot. (imdb.com)
Excuse me?
And the people on Earth don’t know.
They think their little terrestrial hierarchy is the hierarchy.
Meanwhile there’s an entire other fucking system above it.
THIS is why the movie connects immediately with The Matrix and Terminator.
The Matrix:
You don’t know what reality you’re inside.
Terminator:
You don’t know what technology could become.
Jupiter Ascending:
You don’t even know who owns the fucking building.
And if you’ve been following Narcissist, you already know why I immediately connected with this.
I’ve already told you about my own experiences and spiritual mythology involving:
elite families.
secret societies.
non-human entities.
reptilian figures.
Blue Avian Elemental vampire lineage.
hidden hierarchies.
the cyborg story.
systems behind systems.
So yes.
Obviously I watched this movie and sat the fuck up.
The film itself has grey aliens, dragon/reptilian-looking enforcers, engineered human-animal hybrids and alien royalty operating around an Earth population that has almost no idea they exist. (sketches of time)
There is even a fertility-clinic sequence involving Grey-looking beings.
Again:
HELLO?
I read all of that through the reptilian, Draconian, Grey and Pleiadian cosmology I’ve already discussed through Narcissist.
And in my own cosmology, the Greys connect directly back to the transhumanist warning.
I see them as the image of a future humanity that chose machine over Gaia.
Machine over womb.
Machine over sex.
Machine over difference.
Machine over heart.
Until everybody becomes the same weird fucking grey blob.
No Divine Feminine.
No womb.
No real creation.
And then that future becomes obsessed with coming back for what it no longer has:
fertility.
eggs.
wombs.
organic life.
The very things it decided were primitive.
Which is why I keep saying:
YOU CANNOT REPLACE THE FUCKING WOMB.
The feminine is the void.
Dark matter.
The place creation emerges from.
You can imitate it.
You can build machinery around it.
You can call something an artificial womb.
But in my spiritual worldview, the original creative principle is feminine.
Period.
And then there’s the harvesting in Jupiter Ascending.
The elite stay young because entire populations become product.
That’s the part that should make everybody uncomfortable.
Ask yourself:
Who owns the system?
Who benefits from it?
And what does the system think you are?
Citizen?
Customer?
Data?
Labor?
Product?
Resource?
Because Jupiter’s entire life changes the second she realizes:
I AM NOT WHAT THIS SYSTEM TOLD ME I WAS.
Relatable.
Because I’m a Blue Avian elemental vampire writing a fashion magazine about prison planets and Jean Paul Gaultier.
Obviously I’m not here to behave.
I’m here to disrupt the fucking program.
FASHION MOMENT
And because the universe has jokes:
Kym Barrett designed this too.
Same woman who designed The Matrix. (Kym Barrett Design)
Except The Matrix is black, stripped-down and severe.
Jupiter Ascending is:
Jewels.
Embroidery.
Metallics.
Armor.
Huge gowns.
Space aristocracy.
Jupiter’s bridal headpiece alone used a 3-D-printed base, piano wire and about 500 Swarovski crystals. (Allure)
Same designer.
Two completely different messages.
The Matrix:
I escaped the hierarchy.
Jupiter Ascending:
Apparently I inherited the fucking hierarchy.
NARCISSIST VERDICT
Before you worship power—
find out what power thinks you are.
you are not powerless, remember who the fuck you are goddess!
THEY LIVE
THE WARNING: ONCE YOU SEE IT, YOU CAN’T UNSEE IT
A man gets sunglasses.
He puts them on.
And suddenly he can see through the bullshit.
Advertising becomes commands.
OBEY.
CONSUME.
CONFORM.
The world didn’t change.
His perception did.
That’s why I love this movie.
Because if you’ve followed Narcissist for five fucking minutes, you already know:
I’m obsessed with symbols.
Sigils.
Hidden language.
Manipulation through imagery.
Systems.
Branding.
I keep saying:
EVERYTHING IS A SIGIL.
Put two interlocking Cs on a bag.
Nobody sees two letters.
They see CHANEL.
That’s how symbols work.
Symbol.
Meaning.
Repetition.
Charge.
Recognition.
They Live takes that idea and makes it literal.
But the most important part isn’t even putting on the glasses.
It’s trying to get somebody else to fucking wear them.
People say they want the truth.
Until the truth threatens the reality they’ve built their entire life around.
Then they’ll fight you before they’ll fucking look.
And now?
This movie has become even more insane.
THEY’RE LITERALLY SELLING YOU THE FUCKING GLASSES
Meta now sells AI glasses with cameras, microphones, hands-free photo and video capture, and an AI assistant designed to understand aspects of the world from the wearer’s perspective. Meta says the glasses use a visible capture LED and that newer models disable the camera when tampering with that light is detected. (About Facebook)
Not cool.
Super fucking weird.
Because the They Live glasses exposed the surveillance system.
Modern smart glasses is a part of the surveillance environment.
The camera doesn’t have to be mounted to the wall anymore.
You put it on your face.
You walk it through the city.
You record the world.
You upload the footage.
Mass surveillance doing the job for free.
And people have already noticed how fucking They Live this looks.
The London activist group Everyone Hates Elon hijacked Kylie Jenner’s Meta-glasses campaign with a guerrilla lenticular advertisement near Meta’s London headquarters.
Look at it from one angle:
Kylie Jenner wearing the glasses.
Change your position:
Her face turns skeletal, and the ad reads:
WE’RE ALWAYS WATCHING.
It was explicitly designed as a They Live-style attack on surveillance and privacy. (Hyperallergic)
You cannot make this shit up.
A movie about special glasses revealing hidden propaganda—
became the inspiration for activists altering an advertisement for actual AI camera glasses to reveal a surveillance warning underneath it.
The snake ate its own fucking tail.
And then the group went harder.
They created another mock Meta advertisement showing Jeffrey Epstein wearing the glasses with:
“Glasses for people who don’t do consent.”
That was NOT a real Meta ad.
That was the activists’ point.
They used Epstein’s history of sexual abuse and non-consensual recording as the darkest possible criticism of wearable cameras and the erosion of consent. (The Times)
Hence what people are already calling them:
PERVERT GLASSES.
Because when a camera can look almost like an ordinary pair of glasses, everybody around the wearer has to wonder:
Are you looking at me—or recording me?
And this is the part that makes They Live feel less like science fiction and more like somebody was taking fucking notes.
In 1988:
PUT ON THE GLASSES SO YOU CAN SEE THE SYSTEM.
Now?
THE SYSTEM IS SELLING YOU “GLASSES” SO YOU CAN BE AN UNPAID SPY.
Now you see these losers recording strangers without their permission while trying to get a reaction from them.
What the fuck are we doing, humanity?
For a fucking like?
This is too pathetic.
No wonder the lizard people in charge think of humans as cattle.
FASHION MOMENT
And hilariously, They Live barely needs fashion.
It’s not a fashion film, dude.
The main character is the sunglasses.
One accessory changes what you can see.
Very fashion, actually.
Because fashion has always changed perception.
But here’s the difference.
The physical glasses they’re selling you now can record the world around you.
Without even realizing it, you’re an unpaid government worker.
The glasses that the universe gives you to see through all the bullshit, to see through the Matrix, and to see the beings and entities that are here that don’t want you to see clearly aren’t physical.
And once the universe places them on your face, over your eyes, you cannot take them off.
ONCE YOU CAN SEE—
WHAT THE FUCK ARE YOU GOING TO DO ABOUT IT?
SO WERE THESE MOVIES TRYING TO FUCKING WARN YOU?
Maybe.
Maybe they were simply artists taking the fears of their eras and projecting them into the future.
Maybe they predicted nothing.
Maybe they predicted everything.
You decide.
Because perception is strange.
Two people can look at the exact same object and perceive completely different realities.
Change your position and the object changes.
Change what you know and the world changes with it.
That’s why I keep talking about timelines.
Every choice changes your position.
Every change in position changes what becomes visible.
And every time you finally see something you couldn’t see before—
the old version of reality dies a little.
I know that personally.
I’ve been the GATE child.
The girl waking from MKULTRA.
The alien.
The Blue Avian.
The elemental vampire.
The Sapphire Seer.
The woman dealing with reptilian figures.
The person who’s encountered the fucking cyborg from an elite family.
The Divine Feminine cutting the hook.
And now?
I’m the womb-an telling you about it.
Whether you interpret my lore literally, spiritually, metaphorically or decide I’m the strangest fashion editor you’ve encountered this week is your business.
But LOOK AROUND.
Artificial intelligence.
Surveillance.
Data harvesting.
Machines learning us.
Corporations knowing us.
Technology moving closer to our bodies.
Computers appearing inside things we wear.
And an entire civilization asking:
HOW MUCH OF BEING HUMAN ARE WE WILLING TO HAND OVER FOR CONVENIENCE?
The Matrix asked whether you would wake up and face the truth.
Terminator 2 asked whether humanity would remain in control of the machine—and connected to the living body./// will you give up the heart and nature and follow the goverments machine.
The Fifth Element asked what technology could never replace.
Jupiter Ascending asked who owns the hierarchy.
They Live asked whether you’d recognize control once somebody showed it to you.
Different movies.
Different decades.
Same annoying fucking question:
ARE YOU PAYING ATTENTION YET?
Because Narcissist is.
And unfortunately—
I mean every fucking word.
CREDITS
WRITER: Kimberly Mortensen aka The Divine Narcissist
IMAGE + COSTUME CREDITS
THE MATRIX (1999)
Directed by Lana and Lilly Wachowski
Costume Design: Kym Barrett
Film imagery used for editorial criticism, commentary, and analysis.
THE TERMINATOR (1984)
Directed by James Cameron
Costume Design: Hilary Wright
Film imagery used for editorial criticism, commentary, and analysis.
TERMINATOR 2: JUDGMENT DAY (1991)
Directed by James Cameron
Costume Design: Marlene Stewart
Film imagery used for editorial criticism, commentary, and analysis.
THE FIFTH ELEMENT (1997)
Directed by Luc Besson
Costume Design: Jean-Paul Gaultier
Film imagery used for editorial criticism, commentary, and analysis.
JUPITER ASCENDING (2015)
Directed by Lana and Lilly Wachowski
Costume Design: Kym Barrett
Film imagery used for editorial criticism, commentary, and analysis.
THEY LIVE (1988)
Directed by John Carpenter
Costumes: Robert Bush and John Young
Costume Supervisor: Robin Bush
Film imagery used for editorial criticism, commentary, and analysis.
META AI GLASSES GUERRILLA ART
Guerrilla protest artworks / subvertisements by Everyone Hates Elon, London, 2026.
The campaign critiques Meta AI glasses, surveillance, privacy, and non-consensual recording.
Artwork reproduced here in the context of editorial commentary and criticism.
Editorial concept, collage design, text + commentary:
NARCISSIST MAGAZINE
All film imagery and third-party artwork remain the property of their respective rights holders.