Starry Eyes is a horror movie about a struggling actress getting mixed up with the Hollywood elite. Through the metamorphosis of the main character, the movie describes how the entertainment world actually works: via rituals, blood sacrifice, and occult initiation.
Warning : This article deals with subject matters that might be disturbing to some. Also, colossal spoilers ahead!
Starry Eyes is a typical horror flick: scary, bloody and disgusting. But the most disturbing part of this movie is not the gore and the violence: It is the fact that there is truth in it, a dark truth that many of us would rather ignore. The movie puts it all there, however, right in our faces, as it graphically describes all of the horrific implications. Starry Eyes puts on screen the dark and depraved side of the entertainment industry and the sick motivations of the people who rule it. It exposes the viewers to the elite’s obsession with sexual exploitation, blood sacrifices and satanic rituals as they bask in wealth and social admiration.
While many perceive Starry Eyes as a purely fictional film commenting on the desperation of starving artists, those “in the know” realize that a lot of the horror is based on fact. The movie describes rather accurately the process of what happens at the higher levels of the entertainment industry where abuse, exploitation, mind control, occult rituals, and blood sacrifices turn aspiring artists into traumatized sock puppets. Let’s look at Starry Eyes and how it portrays the movie industry.
A Waitress Tired of Waiting
Sarah Walker is your typical struggling actress living in Los Angeles looking to become a big time Hollywood star. In order to pay the bills, she waits tables at a local restaurant – a job she clearly hates.
Much to the dismay of her boss, Sarah is not focused on her job, but is constantly on her phone looking for callbacks from production companies. At home, Sarah find an intriguing casting call online.
At the audition, the aspiring actresses trying out for the lead role are all treated like garbage, and most of them leave in tears. Although she gave it her all, Sarah also fails to impress the auditioners who proceed to make her feel like a talentless nobody. Sarah then rushes to the nearest bathroom where she completely loses it.
As she comes out of the bathroom stall, Sarah is met by one of the auditioners who was impressed by this disturbing display of rage and self-mutilation. She is brought back to the audition room – but she is not asked to read lines. They want to see her have that violent fit again. Although Sarah is reluctant to pull her hair for the viewing pleasure of strangers, she is told: “You’ve got my attention” and is reminded about the fact that a million other girls could easily take her place. Throughout the movie, Sarah is constantly reminded that a million girls are waiting in line for her spot and that any attention from the all-mighty producers, no matter how strange or degrading their requests, is a rare privilege. At this point, the auditioners only want to see her pull her hair out, and nothing else. So Sarah does it.
The audition quickly stops being about a role in a movie, and turns into a spectacle of extreme degradation and submission, a prelude to the ordeal she most go through to be an initiate of the occult elite. Although the audition ended with her convulsing on the ground under the cold eyes of the auditioners, Sarah leaves the building feeling happy: She got the company’s attention. She gets a callback and the process of transformation truly begins.
Although she is treated with utter contempt by the production company, Sarah is excited to get a second audition. She is told that the only reason she got a second audition was because of her hair-pulling display – and nothing else. Once again, they are emphasizing on the fact that it is not about talent but what she is ready to do to be a star.
At the second audition, Sarah wears a dress of pale color, which symbolizes her state of purity/innocence. We will later see that the movie follows the exact color code we see in other music videos and movies analyzed on Vigilant Citizen: White (or a pale color) symbolizes purity/innocence, red stands for transformation/sacrifice, and black for initiation. Countless females artists have appeared in videos that symbolically tell the “good girl gone bad” narrative and they all go through this succession of colors. Starry Eyes is somewhat of a behind-the-scenes look at what truly happens during that metamorphosis.
When Sarah enters the dark room at the second audition, she is immediately told to strip naked – although the role does not require nudity. Once again, it is not about the role, it is about something way beyond that. It is about turning a girl towards the dark side.
She is told:
“Let your inhibitions go. If you can’t fully let yourself go, how can you ever transform into something else?”
The light then starts flashing and Sarah appears to undergo a process akin to mind control and demon possession. Each time the light flashes, we see Sarah either making a demonic face or feeling physical pleasure.
At the end of the process, Sarah appears completely consumed. She then notices the pendant worn by one of the auditioners.
In short, this was not an audition, it was a hypnotic mind control session intermixed with an occult ritual. Welcome to Astraeus Pictures.
When Sarah tells her friends that she auditioned for Astreus Pictures, she is told that “they’re legit” and “the real deal”. In other words, it is one of the few “big time” production companies that produces blockbuster hits. The symbolism associated with Astraeus Pictures subtly tells us about the true forces behind the movie business.
First, Astraeus is the name of a Titan god of Greek mythology and is mostly known for being the god of the dusk. As you might know, dusk is what immediately precedes the darkness of the night … the same way this production company brings darkness to the world.
The logo of Astraeus is also quite telling : It is the top half of a unicursal hexagram.
The unicursal hexagram is an important symbol in ritual magic and occult secret societies. It is also the main symbol associated with Aleister Crowley’s philosophy: Thelema.
The unicursal hexagram is so-called because it can be drawn unicursally– that is, in one continuous movement. This is significant when forming figures in ritual magick, where a continuous line is preferred to an interrupted movement.
The symbol was devised by the Golden Dawn, and later adapted by Aleister Crowley as a device of personal significance. It is often worn by Thelemites as a sign of religious identification and recognition.
– Symbol Dictionary, Unicursal Hexagram
Today, the Thelema is taught by a secret society that is extremely influential in the entertainment industry : the Ordo Templi Orientis (O.T.O.). It is one of the main forces behind the occult, ritualistic side of Hollywood. The O.T.O is also subtly referred to in another “eye opening” movie, Stanley Kubrick’s Eyes Wide Shut (read my series of articles about it here).
An important part of the O.T.O’s teachings is sex magick – and we definitely witness some of it in Starry Eyes.
After a successful second audition (which was about her standing naked and being exposed to an evil force), Sarah gets the ultimate privilege: A meeting with the producer. Before leaving her apartment, the movie emphasizes the red dress she is wearing: All of her friends comment on it, one of them even adds that “it is a bit much”.
At the meeting, the producer of Astraeus Pictures tells Sarah what all producers tell young, impressionable girls when they want to lure them into a soul-selling contract:
“We audition a lot of young women in this building, but very few ever make it to this room. Some pretty big names went through here, going way back”.
This implies that the Hollywood elite’s way of functioning has been going on for decades.
“The role of Celeste is a really big deal for a young actress with no other credits to her name. Your face will be on a poster, a poster on a wall, a wall in the lobby, a lobby in a movie theater, a theater with a marquee.”
For a girl working at Big Taters, hearing these words is what she’s been waiting for her entire life – and the producer knows it. He then touches her inappropriately, and things get real.
When Sarah tries to make him stop by asking him if he wants her to read some lines, he replies:
“Sarah, THIS is the audition. You are at the gates. All you need is for me to open them for you”.
Once again, nobody is interested in Sarah showcasing her acting talents. The “audition” is once again about her being degraded into giving up her body. Sarah refuses the advances and storms out of the room.
Her return to reality is however extremely difficult. She must beg to get her job back at Big Taters and, coincidentally, she is also told that about a million girls would love to have her steady waitressing job. She then regrets walking out of the producer’s room and begins rationalizing doing the unthinkable:
“I kind of feel I’m selling my soul already. So it might as well be for something I love.”
Under the influence of drugs and, since the second audition, with something evil burgeoning inside of her, Sarah decides to go back to see the producer. For that meeting, she wears another symbolic dress.
When Sarah gets face-to-face with the producer, she realizes that it is not simply about “sleeping with him” for his personal perverted pleasure. There is a metaphysical dimension to the process. It is about submission and initiation to an occult order through ritual. When Sarah falls to her knees before the producer, he says:
“Would you forgo your eyes for a new pair of eyes, eyes that can see with our vision? Would you give up your body to become a vessel for our voice, my voice? Will you give your old life away for a glorious new life?”
Within this oath is the summed up the entire transformation process that turns a regular artist into a full blown “Illuminati puppet”. By “forgoing” her eyes for a new pair, Sarah gives up her ability to perceive reality in order to only see what “they” want her to see. Is this why all industry pawns constantly hide one of their eyes in photoshoots? (See my Symbolic Pics of the Month articles for hundreds of examples.) By giving up her body to become a vessel to their “voice”, she voluntarily gives up any kind of core values and artistic integrity she might have had to become nothing more than an empty shell pushing the messages of the elite. Finally, by giving her old life away, she completely erases her past self to turn into a new alter persona, an artificial creation that is completely programmed by the elite.
To all of that, Sarah answers “yes”. She then proceeds to pleasure the producer … and things get weirder.
Looking at the skies with a crazy look in his eyes, the producer says :
“The gateway is opened Sarah. All you have to do is be willing to step inside. Kill your old self, Sarah”.
The word “gateway” has a spiritual connotation as Sarah also opens herself to what will appear to be demonic possession.
The days after the disturbing ritual are extremely painful for Sarah. She keeps convulsing violently and feels as is she was dying. She also constantly loses hair which, as stated earlier, represent her true self.
While in pain and dying inside and out, Sarah is visited by someone from Astraeus, who shows her a vision.
When that vision vanishes, she is still in pain, and looking uglier than ever. She then gets a phone call from the producer who says:
“You can go into the ground and be forgotten forever or you can be reborn. Did you expect it to be painless, that it would be easy, that you’d simply wake up one morning with everything you ever wanted laid out before you? I told you Sarah, dreams require sacrifice. And so do we.”
Sarah does not only need to sacrifice her own soul to become “one of them”. They require a blood sacrifice. Sarah therefore proceeds to kill all of her friends in an extremely violent matter. When the bloody deed is accomplished men in robes immediately appear and lead her to the final ritual.
After the blood sacrifice, a bunch of rich Hollywood elite people gather for the ritual celebrating Sarah’s rebirth.
The concept of symbolic death and rebirth is of extreme importance in occult secret societies. In most esoteric circles since antiquity, candidates for initiation are made to go through a period of “symbolic death” where they are kept in darkness to then be “born again”. This concept is also central in Christianity as Jesus Christ resurrected from dead after three days in the tomb. The story of Jonah emerging from the great whale is also a part of Jewish and Islamic literature. However, in the case of Astraeus Pictures, the initiate is not on the brink of a great spiritual awakening, she is a mere puppet lured into a Satanic ritual for the profit and the pleasure of her handlers. The elite thrives on tapping into ancient and powerful archetypes and corrupting them for their own nefarious purposes.
At the end of the ritual, the producers yells “She is ready to transform!”. The next day, Sarah is reborn.
The roommate notices that Sarah’s eyes have changed – she now has the new pair of eyes that sees only the elite’s vision. Sarah tells her roommate “Things are changing for me” and proceeds to kill her – the last remnant of her past life. Sarah then opens her birthday gift from Astraeus.
If you’ve read past articles on Vigilant Citizen, you probably realized that Starry Eyes basically encompasses everything that has ever been discussed on this site. By describing Sarah’s transformation at the hands of the Hollywood elite, the movie puts on screen the true nature of those who control the entertainment industry … and the world. By clearly conveying the elite’s total disdain for the common person and its obsession with corrupted rituals, exploitation, degradation and blood sacrifice, the movie exposes the “true self” of the industry, the same way Sarah exposes her true self to the producers.
If you still believe this is all fiction and that what is said here is all a crazy conspiracy, you might have an acute case of … starry eyes.
The remains of “witches” burned at the stake for killing children in the 17th century were found by archaeologists
In the Polish city of Bochnia, archaeologists unearthed the charred remains of two women. The discovery was made during restoration work in the local market.
They are believed to have lived approximately 300 years ago. According to scientists, it is known that in 1679 three women were burnt in this place. So far, two skeletons have been found, but experts have no doubt that they will soon find a third one, according to Express.
Researchers believe that the victims were accused of witchcraft and murder of children. After that, they were probably burned in the city market. Such punishment was common in the Middle Ages, from the 5th to the 15th centuries. Historians believe that the public burning allegedly showed “witches” going to hell.
Archaeologists will continue to investigate the remains, but they have already stated that the women were buried right at the place of execution. According to experts, in that era it was customary: people convicted of such a crime could not be buried near the church.
According to historical sources, at least 13 women accused of witchcraft were executed in Bochnia. Before the execution of the sentence, they were kept in the neighboring town hall and, most likely, tortured in order to get a confession of their deeds. In addition, the archives contain the names and crimes of the “witches”.
Which castle in Europe is considered the most mystical: you will be surprised
Many castles have survived in Europe, which to modern people seem incredibly beautiful and majestic. Their main purpose was to deter enemies if necessary.
That is why such factors as a good location, a moat, a rampart and other opportunities to repel potential enemies played a strategic role.
However, there is one architectural object that does not fit into the traditional framework.
The majestic is one of the most famous landmarks in the Italian region of Apulia. Moreover, it will not be an exaggeration to say that this is the most mystical castle in the world.
Unlike other mystical places, this amazing castle is not hidden from prying eyes behind the mountains and forests. On the contrary, it is visible from afar. You drive along the freeway and see it, towering on top of the hill. It doesn’t matter that the name of the building is translated as “castle on the mountain”, only those who have never seen real mountains in their life can literally take the name Castel del Monte.
It was built on a castle on the very spot where the Maria del Monte monastery was located until the thirteenth century, hence the first name of the building, which few people remember today – castrum Sancta Maria de Monte.
Today, crowds of people frequently visit Castel del Monte. For this, many thanks to the magical world of cinema and the Italian director Matteo Garrone in particular, because it was in the unusual halls of this monumental structure that he settled the characters of his “Scary Tales” – the king who raised a flea, and the princess whom the eccentric father married to a cannibal. Curiously, until the twentieth century, the castle was in an abandoned state, and shepherds spent the night there.
Today, the architectural structure is in the care of UNESCO, as a result, it was cleaned and put in order, but the interior decoration of the halls was not preserved – for that reason, Matteo Garrone had to hastily fill the space of the premises with the props brought to the castle.
Garrone chose Castel del Monte for the film adaptation of the tales of the Neapolitan Giambattista Basile for a reason, because this place is incredibly mysterious. Although located 16 kilometers from the city of Andria, Castel del Monte bears the honorary title of one of the most famous medieval castles in the world, in essence it is not a castle.
The fact is that in the understanding of a normal person of the Middle Ages, a castle could only be built for one of two purposes. The first goal, it is also the main one – defense and terrain control. In this case, one or another lord erected a small fortress, as a rule, on the top of a mountain, which helped to repel enemy attacks, and at the same time to influence the situation in the region as a whole. The second task is a fortified place to live. Sometimes castles grew to the size of cities, take, for example, the same Carcassonne, but their powerful walls, again, made it possible to hold back hordes of enemies.
But Castel del Monte is not intended for defense at all. Where are the walls and the moat with water? Where are there any decent defenses?
This place also seems to be of little use for life. Of course, even Walter Scott in his “Ivanhoe” wrote that the concept of “comfort” did not exist in the Middle Ages, but this castle, even by medieval standards, is far from the home of a self-respecting lord. It’s okay that all the rooms inside are connected to each other, but, most importantly, there is no place for a stable and there is no kitchen.
So, most of all, the castle looks like a kind of an old art object, built for the sake of ideas, such houses are sometimes designed by modern architects who have received absolute carte blanche for the implementation of their creative ideas coupled with an unlimited budget.
This association is quite appropriate if you know who built Castel del Monte. The castle was built on the mountain by the Emperor Frederick II Staufen – a legendary person in all respects. He not only managed to win the title of Emperor of the Holy Roman Empire from competitors and lead the sixth crusade, but was also considered one of the most educated people of his time.
He knew Greek, Latin and Arabic, founded a university in Naples, where not only Christians, but also Jews and Arabs taught, and this, by the way, is the height of tolerance by medieval standards. Frederick II as a whole was very far from Christian prejudices, here are illustrative examples: the emperor insisted that doctors study anatomy on corpses, and Frederick also had a warm attitude towards Fibonacci and even organized mathematical tournaments.
The emperor also had a penchant for writing: he is credited with writing an essay on falconry, and at his court he created a Sicilian school of poetry. At the same time, like all progressive people of his time, Frederick II was an admirer of a wide variety of mystical teachings, studied astronomy and astrology.
With the personal life of the emperor, everything was also interesting, he earned the reputation of Bluebeard, because he was married four times, however, the church did not recognize his last marriage with his permanent mistress Bianca Lancia. Frederick II spawned a great many children – 20 legitimate, but for obvious reasons, no one scrupulously counted the bastards.
Historians still cannot solve the riddle of the Italian Castel del Monte, to which scientists have many questions
Castel del Monte was built by Frederick II from 1240 to 1250, that is, in the last decade of his life. The name of the architect is unknown, but many historians, not without reason, believe that he was the emperor himself – a painfully intricate design was the result.
The fact is that, like many medieval mystics, Frederick was obsessed with the number eight, which symbolizes infinity, and it is constantly traced in the structure of the castle.
To begin with, the castle, when viewed from above, is a regular octagon, and an octagonal tower is erected at each corner of the structure. The shape of the inner courtyard of the castle also repeats the octagon. The castle has only two floors, the roof is flat, and the main entrance to Castel del Monte looks strictly to the east, because, as it was believed in the Middle Ages, the good news came from the east.
There are 8 rooms on each floor of the castle, all of them are connected to each other, so that Castel del Monte can be easily walked around the perimeter. The rooms are made in the form of trapezoids, and windows are cut through the walls. Toilets, wardrobes and spiral staircases are located in the corner turrets.
By the way, the castle has a separate story with the stairs – usually in all castles they are “twisted” to the right, since this is optimal for the defense of the object, but in Castel del Monte, on the contrary, they are “turned” to the left, that is, the way it does nature, because it is to the left that the shells of mollusks or snail shells are twisted.
All rooms of the castle are exactly the same, the rooms differ from each other only in the location of the doors and the number of windows. In the decorative elements, the number eight again dominates: on the capitals of the columns there are eight leaves each, on the bas-reliefs in the rooms there are eight leaves or clover flowers.
Another interesting thing is that direct rays of sunlight fall into the windows of the second floor twice a day (with the first floor, this rule works only in the summer), so many assume that the mysterious castle is nothing more than a huge sundial, and at the same time astronomical device.
In addition, twice a year, during the summer and winter solstice, sunlight is evenly distributed among all rooms on the ground floor. This, of course, is also no coincidence, so many historians suggest that the first floor of Castel del Monte is a kind of analogue of the solar calendar.
Here’s another curious reason for thinking – twice a year, on April 8 and October 8, the sun’s rays pass through the windows of the castle into the courtyard in such a way that they fall strictly on the part of the wall where in the time of Frederick II a certain bas-relief was carved, now lost.
Well, and to make everything quite difficult, it is worth remembering that October in the thirteenth century was considered the eighth month of the year.
The castle bears the title of the most mysterious at all because there are many ghosts or other manifestations of mysticism
Frederick II died before he could finish the construction of the castle – the building of Castel del Monte was completed, but the interior decoration was not completed to the end. After the death of the emperor, there were legends in Europe that Frederick did not die, but disappeared in an unknown direction in order to reform the church and establish universal brotherhood and peace.
A certain symbolism is seen in this, because the octagon, repeated in the structure of Castel del Monte, in the Middle Ages symbolized the transition from the world of the living to the kingdom of the dead, and at the same time the union of heaven and earth.
Everything is very simple here – a square was considered a symbol of the earth, a circle was a symbol of the sky, and an octagon was an intermediate figure that signified both unity and transition. However, scientists far from mysticism believe that the repeated use of the octagon is simply a reference to the Dome of the Rock in Jerusalem, because Frederick II saw the dome over the cornerstone during his crusade.
Historians are confused by the dubious architecture of the object – in such a castle there was not a single chance to hide from an armed attack. No protective mechanisms were used during the construction.
In addition, the building itself boasts the ideal shape of a real octagon. The castle has also 8 turrets.
Scientists did not fit the theory that this castle was used by noble people in order to rest there after hunting. Castel del Monte looks too monumental and luxurious for this.
Some historians suggest that the purpose of the mysterious castle was to comprehend the secret sciences
Castel del Monte has encrypted and biblical symbols. The fact is that the castle has exactly five drainage basins and five fireplaces, many associate this with the phrase of the Baptist John from the Gospel of Luke:
“I baptize you in water for repentance, but the One who follows me is stronger than me; I am not worthy to bear His shoes; He will baptize you with the Holy Spirit and fire.”
So, it is easy to assume that Castel del Monte was for Frederick II an analogue of the temple, built according to his personal project, and this fully meets the ambitions of the emperor.
By the way, this hypothesis is confirmed by another curious detail. If you look closely at the entrance to the castle, you can see a giant letter F encrypted there. If inside the tomb of Frederick II, associations with the pyramids would be inevitable, and so Castel del Monte seems to be a kind of personal portal of the emperor, erected according to his plan and in his honour.
At least when you stand in the courtyard of the castle and, with your head raised, look at the sky, imprisoned in an octagon of powerful limestone walls, even the most inveterate materialists have a feeling of belonging to the medieval magical tradition.
The energy of this place is special, in the style of those “Scary Tales” by Matteo Garrone.
Occult symbolism of the 2020 Vatican nativity scene
On December 11, the Vatican unveiled its 2020 nativity scene in St. Peter’s Square. And as soon as the red drapery covering the stage was removed, the crowd found a towering, brutal and totem-like angel Gabriel watching them, along with an astronaut and a masked executioner (yes, those guys who kill people on death row).
Let’s say the applause after the opening was “polite”. Here are some images of the nativity scene.
An ominous angel looks down at the crowd while Jesus remains in the red cloth for a while (not sure why). Behind the figures is a neon light that should probably look like mountains on the horizon. However, at first glance, it looks like a lightning strike in a nativity scene.
In a press release, the Vatican Governorate announced that the nursery “is intended to be a sign of hope and faith for the entire world, especially during this difficult time due to the health emergency related to COVID-19.”
But this did not bring “hope and faith” at all. In fact, almost all observers hated it.
It is as if the Vatican purposely created something so ugly that devout Christians hate the play depicting the birth of Jesus. Satanists couldn’t have done better.
Ugliness with weapons
This nativity scene, titled “Monumental Christmas”, was originally created between 1965 and 1975 by students and teachers of the F.A. Grue art school in Castelli, Italy. The original work contained over 50 pieces, but only a few were selected for the Nativity scene at the Vatican, and they chose the horned-masked executioner.
The “Monumental Nativity Scene” is considered a tribute to the world-renowned pottery works of the Abruzzo region and gives a postmodern twist to the classic nativity scene.
In a conversation with a local newspaper, Italian art historian Andrea Chionchi asked if it was “a nightmare or a masterpiece.”
“Forget the sweet face of the Madonna, the tender radiant incarnation of the Child Jesus, the paternal sweetness of Saint Joseph and the pious miracle of the shepherds. For the first time in the middle of the colonnade, Bernini, the Vatican erected a work of the sixties in a brutal postmodern style.
The figures resemble the masks of the ancient and ferocious Samnites, the ancestors of the Abruzians, who professed a pantheistic, animistic, fetishistic and magical religion, somewhat reminiscent of the Andean goddess of fertility, Pachamama.
Castelli’s “Nativity Scene” is an outdated work, the product of a strongly ideological art school. The work offers a depiction of Castelli ceramics that is definitely not true, given that this remarkable art is renowned for its formal elegance and refined, subtle decorative inspiration, which are completely absent here.
References to Greek, Egyptian, and Sumerian character sculptures suggest a liberal historical-critical method of interpreting Scripture. Liberal Bible scholars have hypothesized about various aspects of the Bible as an adaptation of pagan cultures, and not as a result of divine revelation.
Although “ugliness” is subjective, this nativity scene almost tries its best to be as unpleasant to the eye as possible, which in turn is unpleasant to the soul. At least one could say that this scene is anti-Christian. I mean, who’s actually going to pray to this thing? You just can’t. And that’s kind of a target for the twisted minds behind this thing.
Moreover, in addition to its general ugliness, the nativity scene also contains many symbols and historical references that convey a rather egregious message: it is actually an anti-Christmas scene.
Usually in the center of the nativity scene is the baby Jesus. However, in this case, Baby Jesus is essentially a random toddler who just stands there and looks like a giant cork.
The focus of this play is not Jesus, but rather the angel Gabriel. It is surrounded by a massive halo, while Jesus still stands there like a giant cork. In addition, the angel rises above everything on a ribbed pillar. The overall shape of this column closely resembles an important symbol of Ancient Egypt: the Jed Column.
Jed is a common symbol in Ancient Egypt believed to represent the god Osiris, or rather his spine. While this symbol probably has an esoteric meaning in relation to the chakras (which are said to be based on the spine), the Jed also has a phallic character and is associated with fertility rites. In fact, the “erection of the Jed” was an important ceremony in ancient Egypt.
The erection of the Jedi ceremony is to symbolize Osiris’ triumph over Set. During the ceremony, the pharaoh uses ropes to lift the pole with the help of the priests. This coincided with the time of year when the agricultural year began and the fields were planted. This was only part of a 17-day celebration dedicated to Osiris. In general, the ceremony of the erection of the Jed personified both the resurrection of Osiris and the strength and stability of the monarch.
– Ancient origins, sacred symbol of the Jed Pillar
Did the Vatican trick its believers into witnessing the Jed Ascension ceremony? One thing is for sure: the Egyptian influence of this den sit well with what is immediately behind it.
The general plan of the Vatican is Egyptian magic in plain sight. The phallic obelisk (representing Osiris and the masculine) faces the womb-like dome of St. Peter’s Basilica (representing Isis and the feminine). The same exact layout can be found in various power centers of the world, including Washington, DC.
In Washington DC, an obelisk (Washington Monument) faces the dome of the US Capitol.
In Egyptian magic, the union of masculine and feminine principles (Osiris and Isis) gives birth to a “star child” (Horus). From an esoteric point of view, this star child is a powerful magical energy.
The hieroglyph representing Sirius, the most important star of occult symbolism (read my article on this here), consists of three elements of the Egyptian trinity: an obelisk, a dome and a star.
So, the Vatican has an obelisk and a dome. Where is the star completing this trinity? It is there, but you have to look from above.
The Obelisk of St. Peter is located right in the center of the eight-pointed star, also known as the Ishtar Star.
The eight-pointed star also adorns the Christmas tree that stands next to the nativity scene this year.
Speaking of cosmic things, the Vatican nativity scene also depicts an astronaut. Why? God knows.
It seems that the astronaut is holding / giving birth to something. There is also an eight-pointed star on the helmet.
Given the fact that this figure was created between 1965 and 1975, this may be a reference to the 1969 moon landing. But why in 2020 did the Vatican choose this thing to stand next to Jesus?
It is even more incomprehensible why an executioner in a horned mask is standing next to Jesus?
In ancient times, executioners carried out death sentences for lawful convicts by chopping off their heads. In some cases, they wore grotesque masks with dark and menacing features to further intimidate prisoners, depersonalizing them as a person. In short, it is an odd figure to be placed next to the newborn baby Jesus, especially considering the fact that Jesus himself was ultimately sentenced to death.
Apparently this guy is here to represent the “Vatican’s opposition to the death penalty.” This is a rather weak argument that makes little sense. I mean, I’m pretty sure the Vatican is also against methamphetamine. Should they also add a methamphetamine dealer to the nativity scene?
In the scene literally called “Christmas,” this horned figure represents death. This is the complete opposite of “Christmas”. I don’t think Satanists would have done better by desecrating the scene depicting the birth of Jesus.
In a sense, this year’s nativity scene is a sad reflection of 2020. This is a collection of expressionless and socially detached figures who do not interact with each other, standing under the neon lights of phones and computers.
It also reflects how the occult elite has raised their ugly head this year, poisoning every aspect of our lives with their toxic program. Through their outspoken anti-Christian demonstration, the elite sought to prove that its toxic ideology was also ingrained in the Vatican.
Although the Monumental Nativity scene was created several decades ago, it was chosen for the Christmas scene in 2020 for a special reason: it contains certain symbols, conveying a certain energy. Like everything else that has happened this year, this scene demonstrates the control of the elite and the demoralization of the masses.
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“An unpleasant truth”. Japanese futurist predicted new pandemics
DO NOT MISS
Aliens among us: could Mars be the cradle of life on earth?
The hypothesis that life originated on Mars and only from there was brought to Earth can be called unusual, but...
“Guardians” of governments and people: World elite have found a way to rule nations
This week, the Vatican entered into a partnership agreement with a certain “Council for Inclusive Capitalism”. On December 8 and 9,...
US official: “Roswell wreckage was from an alien flying saucer”
What Major Jesse Marshall, who was in charge of investigations at the scene, reveals in his diary – He denounces...
On December 4, many UFOs appeared at night over the pyramids of Giza in Egypt
Something strange happened in the sky above the pyramids of Giza, on the night of December 3, when luminous objects...
Astronomers have recorded more than a thousand mysterious round spots. What could they be?
Astronomers at Australia’s ASKAP radio telescope complex have reported that they have discovered strange circles of radio emission in space. According...
Mysteries4 weeks ago
About the so-called “City of God” found in one of the space images. Fiction or reality?
Aliens & UFO's4 weeks ago
“Humanity behaves like a cancer”: experts on why aliens should destroy us
Conspiracy Theories4 weeks ago
COVID-21 is here. Is an official new strain announcement on the way?
Underworld4 weeks ago
Covid-19: The Great Reset -Pandemic targets declared
Fact or fiction2 weeks ago
“An unpleasant truth”. Japanese futurist predicted new pandemics
Aliens & UFO's3 weeks ago
In China, three UFOs attacked a “rocket” and it exploded with incredible effects (VIDEO)
Apocalypse & Armageddon4 weeks ago
50,000 earthquakes in Antarctica and mysterious trumpet sounds in the sky. What’s next?
Aliens & UFO's4 weeks ago
An Alien civilization took over Earth on July 29, 1203 BC