Marks & Spencer Xmas Advert Exposed

Illuminati Symbolism Reveals World War III

Illuminati symbolism is not just a meme; it is a visual language used by people in power. In this article I show that this Marks & Spencer Christmas advert carries obvious, repeated, deliberate messaging pointing toward a nuclear World War 3 — including specific targeting of the United States, London, Scotland, and Australia — and gives a peek into how the pillars of power in this world operate.

This is not a vague feeling; it is visible in concrete screenshots and in consistent patterns that match the same visual language used in many other works. I believe these images are shaped by real spiritual forces that are signaling our actual future.

You do not need to share my conclusions to follow the images. My request is simply that you look and decide for yourself whether this is just a cute Christmas ad—or something much more, an ominous warning about what is coming.

Before we go into details, you can watch the advert yourself. There are two versions:

• 2-minute version (low-quality but meaningful timestamp signals):
  https://www.youtube.com/watch?v=WCW13lArZ0I
• 3-minute extended version (higher-quality and additional important scenes:
  https://www.youtube.com/watch?v=V5QPXhStb5I

Unless I say otherwise, any time mark I mention refers to the 2-minute version. When I refer to a scene that only appears in the 3-minute cut, I say so explicitly. You can verify everything by pausing the video at those timestamps and comparing it to the screenshots.

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The Symbolic Language of the Advert

Illuminati symbolism usually uses biblical themes as a backdrop for the messages it conveys. The symbolism in this Marks & Spencer video focuses on end-time events and judgments described in the book of Revelation, leading up to the return of Jesus, the Bright Morning Star, after a dark night. Among the themes presented are:

• the riding out of the second (red) horse of Revelation, taking peace from the earth
• cities destroyed by fire (nuclear attacks)
• Satan being cast down from heaven in wrath
• the man of lawlessness (the anti-Christ) coming into union with Satan’s dark spirit and rising as the beast
• the martyrdom of the saints
• the opening of the Abyss

I give the relevant Scriptures when we come to each of these in the walkthrough, so you can check them for yourself.

After I shared my early analysis with Marks & Spencer on Facebook Messenger, asking directly if they were telling us World War 3 is coming, a man contacted me about two weeks later. He said he had been trained in this symbolism and had later turned to Christ. His initials are “CC.” Throughout this post I refer to him simply as CC. In several key places I could see that something was being signaled, and CC offered clear, fitting explanations that matched both what is on the screen and what Scripture describes. I mark clearly where his input comes in. I cannot prove it, but the precision and depth of his explanations lead me to suspect he may have been directly involved with the making of the video.

You will also see recurring 3-and-3 (33) patterns and a few timing cues in this advert. Even CC’s initials echo this pattern: C is the third letter of the alphabet, so “CC” can be read as 33. A full treatment of those numbers would be its own study, so here I only point out a few that directly reinforce the main themes.

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The Most Obvious War and Death Signals

In this section I focus on the pieces that are hard to dismiss as random: a shell strapped to a reindeer, tanks, dead reindeer, a dove with its heart removed, and a girl drawn into a red-shoe “dance of death.”

The First Seconds: Shell on the Reindeer and the Dead Reindeer (0:02)

In the typical Santa sleigh picture, there are ten reindeer. At 0:01 in this advert, the total is still ten—but they are divided: four as severed heads mounted on spikes or corners of the house, and six still alive, pulling the sleigh in a 3–3 formation. The mounted heads are laid out in two rows of three, a visual 3–3, or 33.

At just 0:02 into the advert, before the story even really starts, we see what looks like an artillery shell or bomb strapped to the back of a reindeer.

That is not festive; it is a beast of burden carrying a weapon of war.

In the classic sleigh picture, reindeer are cheerful helpers pulling a sled. Here, several are dead, their heads mounted like trophies, and they are arranged in two rows of three—a quiet 3-and-3 (33) hint that marks the hands behind the story this video is telling.

R-Dolf and the “Myrrh Star”: Packages of Death

At 0:51* (1:20 in the 3-minute video), we see Mrs Claus putting “packages” into her helicopter. The name painted on the side is “R-Dolf”, a play on Rudolph.

One of the packages clearly reads “Myrrh Star.” In the Bible, the wise men bring:

• Gold – for a king
• Frankincense – for a priest
• Myrrh – used for burial preparation and death

And a “star” is, in plain physical terms, a sustained fusion reaction. Modern nuclear weapons are, in a sense, artificial stars—brief, intense bursts of nuclear reaction.

Put together, myrrh (burial, death) + star (nuclear reaction) gives you a “Myrrh Star”: a man-made “star” whose purpose is death, a nuclear device rather than a cute gift.

In the Old Testament, Moloch worship involved burning children alive. The idol was often described as a hollow metal figure (typically bull-headed) with a furnace in its belly. Children were placed in the outstretched arms or inside the heated body while drums and music were used to drown out their screams as they were burned. In other words, children offered to the fire.

Then the scene shifts: the R-Dolf helicopter exits through a kind of portal, heading out to deliver its Myrrh Star packages to their destinations (we will come back to what those destinations are). If you look carefully around the opening, several shapes stand out:

• The bull / Moloch silhouette above and to the left of the portal.
• A human face with a “V” over it, suggesting a crowned ruler**, below to the left of the portal.
• Two horses waiting at the edge of the portal, which can be read as the third and fourth horses of Revelation (famine and death) ready to ride out behind the red horse of war.

In my view, these are not random decorations. Moloch above the portal, Jesus opening the seals**, the red R-Dolf helicopter with Myrrh Star packages riding out, and two more horses ready to ride behind it form a clear picture: nuclear weapons from above that incinerate cities, burning children alive.

One destination is hinted at even before the helicopter scene. At 0:26 Mrs Claus calls out to Santa, “Don’t forget Australia.” Then the scene shifts to Santa on his sleigh, and in the back is a package marked “Myrrh”, with the part where the word “Star” would appear blocked from view. In light of the Myrrh Star symbolism, that small moment quietly links Australia to these death-gifts; later the advert does the same for London, Scotland, and the United States.

*The 51-second time mark is significant: 3 x 17 → 3 meaning it is determined and immutable; 17 as a number tied to the beast with seven heads and ten rulers in Revelation 13:1, 17:3,12.

**A “V” is a Roman 5 and, in Illuminati symbolism, often represents “king,” linked to Jupiter, the 5th planet. In that sense the face under the V can be read as a man-king figure. It may even be hinting at the Lamb opening the seals and releasing the horses of Revelation 5–6 and “the one who restrains” is taken out of the way (2 Thessalonians 2:6–7)—not because Jesus is evil, but because He stops holding back the judgments that humanity has chosen for itself.

Mrs Claus, “Fifty Shades of Red,” and a Myrrh Star for America

At 1:46 (2:40 in the 3-minute video), Mrs Claus is resting on a couch and pretends to doze as when Santa returns. In her hands is a book titled “Fifty Shades of Red.”

To me, the title is not accidental. It sounds like many ways to shed blood—many “packages” still to be delivered, many war events still to come. In other words: there is more bloodshed on the schedule.

In the 3-minute video only, at 2:48, we see a scene that does not appear in the shorter cut. Santa himself receives a Myrrh Star package as a gift from Mrs Claus. CC pointed out that the package sits on a carpet of Native American-style patchwork.

The label is the same: “Myrrh Star.” As we’ve already seen:

• The wise men brought myrrh as one of the gifts to Jesus, and myrrh is associated with burial and death preparations.
• Here it is joined to the word “Star.” A star is a sustained nuclear reaction in the heavens. Modern nuclear weapons are, in a sense, artificial stars—brief, controlled (and uncontrolled) bursts of nuclear reaction built from materials like plutonium-239, the same 23-9 / 239 pattern hinted at elsewhere in the advert.

Put together, myrrh (burial) + star (nuclear reaction) gives you a death star in the most literal sense: a nuclear device, a man-made “star” whose purpose is to bring death and burial on a massive scale. The Myrrh Star is a symbol of death, and the Native American patchwork rug ties that symbol to the land of the United States.

I believe this is marking the United States for a Myrrh Star event—in plain language, nuclear fire on U.S. soil.

A Tank Against the Tower and a “BIG Blast” (0:33–0:41)

At 0:33 (0:52 in the 3-minute video), as Jake shouts “Kill, Tiger, kill!”, a tank is briefly shown moving along the top of a wall against a tower—so brief that most viewers miss it.

Later, at 0:41 (1:06 in 3-minute video), Mrs Claus reads Jake’s letter in a mirror. The Illuminati like to hide messages in reflections. In that mirror text we see:

• “Tiger likes the arena.”
• Jake saying “I have been really god this year.” (note the spelling)
• And a request for a “BIG blast” that is “really nasty and potent.”

The mirror shot quietly tells you:

• The boy wants a huge, nasty explosion.
• The dog likes arenas—a clue to the later scene where Tiger is fed the “Body of Christ” like a beast in a Roman arena.
• Jake sets himself up as “god” in his own mind.

These are not cozy Christmas wishes. Rather, this lines up with the prophetic picture of the end-time ruler who “pays no attention to the gods of his fathers” but honors “a god of fortresses” instead (Daniel 11:36–39), and with the “man of lawlessness” who “takes his seat in the temple of God, proclaiming himself to be God” (2 Thessalonians 2:3–4).

The Dove of Peace Pierced at the Heart (1:19–1:22)

Later we see a simple shot: a white dove encircled by a wreath on the wall.

At 1:19 (2:06 in 3-minute video), the dove is intact. At 1:22 (2:09 in 3-minute video), as Anna opens the Myrrh Star package Mrs Claus delivered, a hole appears exactly where the dove’s heart would be. If you look closely, even the shape of the dove’s tail changes, showing the design was deliberately altered between the two shots.

Interpretation:

• The dove represents peace.
• The wreath represents the world.
• The hole at the heart shows that peace has been killed—peace has been removed from the earth.

This mirrors the second seal in Revelation, where the red horse is permitted to take peace from the earth so that people would slay one another.

Red Shoes and the Dance of War

At 1:27 (2:17 in 3-minute video), Anna opens the package that Jake wanted her to have. Inside are red shoes.

Red shoes are not just a fashion accessory. Hans Christian Andersen wrote a nightmarish fairy tale called “The Red Shoes.” You can read the summary yourself here: https://en.wikipedia.org/wiki/The_Red_Shoes_(fairy_tale)

In short:

• A girl named Karen puts on cursed red shoes.
• Once she does, she cannot stop dancing.
• The shoes force her to dance past a church, past soldiers, through town, across fields, even as she grows exhausted.
• She finally begs a headsman to cut off her feet to be free. He does, and the shoes keep dancing with her amputated feet inside.
• She tries to go to church, but the dancing shoes block her.
• Only when she repents and turns to God does He allow her soul to fly to heaven.

To me this is a direct picture of war. Once the dance of war starts, it does not just “calm down.” It keeps going long after people want it to stop. Nations are dragged along until there is overwhelming mutilation and death.

Next, Anna runs outside in those red shoes, falls into the snow, and leaves the imprint of an angel.

As she runs out, pay attention to Anna’s scarf. At 1:36 (2:25 in 3-minute video), it carries two sets of three hearts—another 3–3. Within each set, the top heart is red and the bottom heart is blue, showing a 33 pattern of hearts that change from the color of warm, living blood to the cold blue of death.

Then Anna and Jake both fall back into the snow and make angels so that their bodies carve out angel shapes side by side.

On the surface, it is playful. Symbolically, it looks like two figures laid out on the ground, their “angels” left behind in the snow—images of death and what is left of them. The beautiful gift (the red shoes) leads them out into the snow to lie down and leave angel-shaped impressions, just as Andersen’s red shoes lead to mutilation and death before the soul can fly to heaven.

CC also pointed out that although Anna and Jake live in London, Anna is wearing a tartan, which could also indicate Scotland. It’s worth nothing that Scotland hosts the UK’s main nuclear submarine base at Faslane on the Clyde, home to the Trident deterrent.

So in this small chain of images—red shoes as the dance of war, a 33 scarf with hearts shifting from red to blue and the two of them leaving angel shapes in the snow—the advert silently tells a story: the dance of death begins as a “gift” — kickbacks, favors, and promises to those in power — but it ends in death, and only God can rescue souls out of what follows.

Chasm, Volcano Cloud, and Submarine

At 1:59 (2:59 in the 3-minute video), the advert returns to the opening landscape shot—but the world has changed:

• A chasm has opened.
• A cloud formation over the mountains now looks like a volcano or explosion plume.
• Snow or ash is falling.
• If you look closely down in the gorge, you can see the same submarine that appeared earlier at 0:55 (1:26 in the 3-minute video), now partially submerged and likely launching something.

This is not just “fancy scenery.” It’s the visual aftermath of mass destruction—the world cracked open, ash falling, and war machines in the gorge.

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Feeding the Church to the Beast

One of the most chilling sequences involves mince pies, wine, and the dog named Tiger.

At 1:07–1:12 (1:44-1:54 in 3-minute version) Mrs Claus delivers two packages for Anna. One has the “Myrrh Star” label. On the mantelpiece, beside the fire, we see what looks like a biscuit next to a glass of red wine. Mrs Claus takes a bite, as she looks over to Tiger.

If you pause carefully, you can see it is not a biscuit. It is a small mince pie, and you can see the wine is clearly red.

Jesus, at the Last Supper, took bread and wine and said:

“Take, eat; this is my body… Drink from it, all of you. This is my blood of the covenant…”

So in this scene, the mince pie and wine echo the body and blood of Christ—the church, the Body of Christ on earth. Mrs Claus eats the first mince pie herself, but does not drink the wine.

Then, she feeds the second mince pie to Tiger.

The mirror letter earlier told us “Tiger likes arenas.” In Rome, Christians were thrown into arenas to be torn apart by beasts. Here, the mince pie represents the Body of Christ, and Tiger represents the beast in the arena. She is feeding the church to the beast.

As further confirmation, when Jake’s father comes down in the morning, not only are the mince pies (church) gone, but the wine has turned black, as blood does when death comes.

Revelation 13:7 says of the beast:

“Also it was allowed to make war on the saints and to conquer them…”

That is exactly the pattern here: war on the saints, and the saints being overcome for a season.

A secondary pattern in this sequence is that the first time we see the candles on the mantel, there are seven lit candles. However, in the morning, a card is blocking the view so we only see six candles. This is typical 6-over-7 symbolism, common to Illuminati messaging. Six is the number of man (in Genesis man was created on the sixth day) and seven is the number of God (God rested on the seventh day). The 6-over-7 symbolism is meant to show man ascending to the level of God and also the rebellion of man against God. (That rebellion is also often symbolized as a 42, which is 6 × 7.)

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Deep Dive: Portals, New Arrangements, Jake’s Room & More

The main body above focuses on symbols that are fairly obvious once someone points them out. This section gathers deeper and more technical symbolism, much of which I only understood because CC—someone trained in this language—explained it.

You do not need to agree with any of this to see that the basic war and death story is there. But if you want deeper understanding of how this world works and what is coming, this section is for you.

The Old Arrangement Taken Down and the Stairway to Heaven by Death

At 2:03 in the 3-minute version, there is a wall shot that looks innocent on first viewing but is packed with meaning once you unpack it. We see:

• A wall hanging with the date “23 September” and a reference to a theatre.
• Next to it, other wall hangings with additional symbolism.
• Below them, on the floor, are the old wall hangings, lying face-down and turned inward.
• To the left, an open door shows a black ascending staircase.

I noticed there was symbolism in this scene but did not understand it. However, CC explained it clearly:

• The old arrangement of the world has been taken down (discarded on the floor).
• A new arrangement is being hung up and celebrated on the wall.
• The open door on the left shows a black stairway up—the “stairway to heaven” by way of death.

I noticed additional details.

One of the items on the floor is the back of a picture frame, and the screws and hardware form a crude “smiley face” with one eye distorted. I don’t see that as accidental. The one-eye motif is common in Illuminati symbolism and connects to the anti-Christ / worthless shepherd in Zechariah 11, whose arm is withered and right eye is blinded. Laying that one-eyed “face” among the discarded pieces of the old wall says that the “worthless shepherd” is bound up with ending the old order and bringing in the new.

The largest wall hanging has a conspicuous 23 September. In the image the order is 23–9, which you can read as 239—the atomic mass of plutonium-239, the primary fissile isotope used in nuclear weapons. I do not believe that is a coincidence in a video already filled with nuclear fire imagery.

The real-world timing around September 22–23, 2017 only sharpens that association:

• On September 22, 2017, Kim Jong Un said of Trump:
  “Whatever Trump might have expected, he will face results beyond his expectation. I will surely and definitely tame the mentally deranged U.S. dotard with fire.”
• On September 23, 2017, North Korean Foreign Minister Ri Yong Ho told the UN General Assembly that Trump had made “our rockets’ visit to the entire U.S. mainland inevitable all the more.”

Those are open threats of nuclear fire on the U.S. mainland, tied to the exact dates highlighted in the “23 September” motif.

That same weekend—23 September 2017—is also when many believe (including myself) the Revelation 12:1–2 “woman clothed with the sun” alignment appeared in the heavens. If you would like a basic explanation of that astronomical configuration, there are many explainer videos on YouTube. I recommend this one:
https://www.youtube.com/watch?v=XXxVwpcXV0U

I am not setting dates. 239 is a heavily used number in Illuminati symbolism. My point is that the “23 September” in this advert functions as a pointer—tying together:

• Nuclear weapons (23–9 → 239 → weapons-grade plutonium),
• Public nuclear threats against the U.S. mainland, and
• A widely discussed Revelation 12 sign conversation happening the same weekend.

Finally, notice the tinsel. The new wall hangings are trimmed with tinsel, and the banister of the black ascending staircase is wrapped in the same tinsel, visually linking the new arrangement on the wall to the stairway. So the message, taken as a whole, is this:

• Nuclear war ends the old arrangement—the U.S.-led world order will be thrown down.
• A new arrangement—a beast-led global order—will be raised up in its place.
• Those who reject the coming New World Order, and do not take the mark of the beast, will be killed.

The Opening Santa Scene: The Top of the Pyramid Comes Down & Two Doors

Very early in the advert, at 0:04, there is a shot of “Santa” standing in front of the fireplace. At first glance it looks like a cozy Christmas scene. I could see there was symbolism in it, but I did not understand what it was saying.

After I posted my concerns about the advert, CC explained this image:

“The All-Seeing Eye has come down from the pyramid and is covered in blood and lit by the fire of destruction, thus the pointy hat in front of the pyramid shape. The world has been split in two (the logs on either side) and is burning to end the current world order and bring about the Novus Ordo Seclorum (New World Order). One door is open, the other shut. You may follow one master, the other is forbidden. In this case the placement of the doors is also critical: The right (correct) master is forbidden. You may only choose the left (incorrect) master, because Satanists don’t know about the Adoption of Christ. God is not a master, he is a Father.”

Illuminati symbolism often uses a split pyramid to symbolize Satan’s rule of death and slavery over the earth (for example, the back of the U.S. one-dollar bill). The pyramid top is Satan and his angels, and the pyramid base is the institutions of man. Satan guides the top layers of the earthly institutions, which divide in four directions the further down the base one goes. Thus, the divisions of this world are orchestrated by Satan.

However, according to Revelation 12, in the end times, Satan will be cast down to the earth:

“Now war arose in heaven, Michael and his angels fighting against the dragon… and the great dragon was thrown down, that ancient serpent, who is called the devil and Satan, the deceiver of the whole world—he was thrown down to the earth, and his angels were thrown down with him.”

A few verses later we read:

“…woe to you, O earth and sea, for the devil has come down to you in great wrath, because he knows that his time is short.”

So this opening scene, in my understanding, is not a harmless Santa moment. It is a coded image of Satan already cast down, bloodied from the heavenly war, standing in front of a world divided into two burning halves, offering only the left-hand door to those inside. The rest of the advert then plays out what that looks like on earth: war, death, a new order, and the only paths forward are bow to Satan or die.

Look also at the fireplace itself. Two metal supports hold the burning logs like twin pillars, and the firelight—the “light” of Ra / sun-god worship—blazes between them. In Illuminati symbolism, the spirit of Satan comes to the earth through a portal opened between two temple pillars by blood sacrifice. Here, that portal is implied right under “Santa’s” feet: twin pillars, consuming fire between them, and the capstone of the pyramid—Satan—already come down into the room.

Jake’s Room: Birth of the Anti-Christ & the Destruction of London

Jake’s bedroom sequence is easy to dismiss as ordinary “boy in his room” moments, but it quietly shows another part of the story: the rise of an anti-Christ figure, a human vessel overshadowed by Satan, and London marked for destruction.

At 0:56 (1:27 in the 3-minute video) there is a dark spirit over the globe. The thing that looks like a telescope, with ten stars in a circle representing the ten crowns of the beast, is hovering over his bed, and a planet which appears to be Saturn is moving around on the wall. The bed cover has images of sea creatures, showing that the beast rises up from the sea (see Revelation 13:1). There is a dinosaur lamp—a common theme in the video—representing the ancient generation. In the window, there is one light to Jake’s left and two to his right.

CC informed me that this is a visual echo of the famous signal from Henry Wadsworth Longfellow’s poem about Paul Revere’s ride at the onset of the American Revolution: “One if by land, and two if by sea.” It referred to a signal to let others know if the British would be attacking by land or by sea. In this video, it points to the onset of war. It also means: both by land and by sea.

At 0:57, Jake is setting an alarm clock. Behind him, the globe has changed color, becoming orange, representing Jake has the anointing of Ra, the Sun God, or Satan.

At 0:58, we see the Thames River floodgates—the Thames Barrier that protects London. From left to right, each floodgate post is lit more dimly. There is an image that looks like a face on each gate post, and from left to right the images have four lights, three lights, two lights, one light, and then just an X. In other words, the lights count down and then cross out the last post. This, together with other Illuminati symbolism, indicates that London will be destroyed by flood. Recently, Russia has openly threatened to destroy London using its Poseidon nuclear drone, which is designed to create massive tsunami waves. A “flood” weapon against London is no longer unthinkable; it’s openly discussed.

At 1:00 into the video, we now see two sets of three lights outside the window. This creates another Illuminati 33 and, according to CC, expands the old Longfellow signal into a new pattern in Jake’s window: one if by land, two if by sea, three if by air.

If such events happen, they will not be at the whim of some random global leader, but by the precise planning and timing of Satan and the global elite who do his will. Yet even that is under God’s sovereignty. Because of Revelation 17:17, we know that Satan’s schemes will actually fulfill God’s purpose on the earth:

“…for God has put it into their hearts to carry out his purpose by being of one mind and handing over their royal power to the beast, until the words of God are fulfilled.”

The “ten crowns” / ten horns of the beast carry out God’s purpose, even while they think they are carrying out their own.

At 1:01 into the video, the boy has fallen asleep and the dark spirit that was over the globe has moved over his head. “101” is an Illuminati symbol for a spiritual portal opening between two pillars or the spiritual birth of the anti-Christ. The portal is opened by blood sacrifice and it allows Satan to cross the astral veil and come into the mind of the man that is to be the anti-Christ. Illuminati videos commonly show an anti-Christ figure at exactly 1:01 into the video, and this advert follows the same pattern.

Revelation 17:11 says:

“As for the beast that was and is not, it is an eighth but it belongs to the seven, and it goes to destruction.”

This image sequence in Jake’s room lines up with that description. It is showing the transition of the anti-Christ from being one of the rulers of the seventh world empire before he becomes ruler of the eighth. He is one of the rulers of the seventh. The seventh Babylon has had many rulers over a long period of time; the final Babylon will only have one main head. The anti-Christ was one of many rulers of the seventh Babylon, for a while he is not a ruler—he is “resting,” and in a sense still a child because he has not fully grown into the role of anti-Christ. However, he will be the eighth king, the main head of the seven-headed beast, which shall also have ten horns, which are kings that will rule over regions of the earth.

So this short sequence centered on Jake—his room and the shots immediately around it—is showing something much bigger than a “cheeky boy” in London. It is showing:

• A dark spirit over the globe, then over the boy’s head.
• Longfellow-style signals of attack by land, sea, and air.
• A cut to the Thames Barrier counted down and crossed out—London marked for destruction by flood.
• The 1:01 gateway shot, signaling the spiritual birth and revealing of the man who will rule the beast with seven heads and ten horns, coming out of the chaos created by the war and the “new arrangement” the rest of the advert is signaling.

Jake, the “deceiver,” becomes a picture of the anti-Christ: his timing set, his anointing from Satan behind him, his spirit overshadowed at 1:01, as London—and the wider world—are prepared for war, flood, and a beast-led global order.

Jake the Terrorist and the Slightly Open Door

Jake’s nature is shown as a consistent pattern over a series of incidents.

First, at 0:23 (0:42 in the 3-minute video), Anna comes into Jake’s room to retrieve a pencil he has stolen from her. Jake has taken what is not his and smirks when Anna comes to retrieve it.

Then, at 0:28 (0:48 in the 3-minute video), we see Jake actively terrorize Anna. The way the scene is played, her reaction looks like real fear, not playful teasing.

We already mentioned Jake ordering his dog, “Kill, Tiger, kill!” as Tiger destroyed Anna’s shoes.

As the advert unfolds, Jake keeps showing up around scenes of destruction and death. The point is not just that he is a practical joker, but that the character attached to his name is one who steals, frightens, and damages.

Jesus describes the enemy this way:

“The thief comes only to steal and kill and destroy. I came that they may have life and have it abundantly.”
(John 10:10, ESV)

In the advert, this pattern is concentrated in one named character: Jake—the deceiver, the supplanter. Symbolically, Jake is more than a cheeky child. He is a small-scale picture of the anti-Christ, the one through whom Satan steals, kills, and destroys.

In addition, a subtle detail that almost nobody notices is that the basement doors are slightly ajar.

I would have never noticed it except CC commented on it. His explanation was the slightly open door is a symbol of the Abyss of Revelation being cracked open and connected this to CERN.

Revelation 9 describes the Abyss opening when the fifth trumpet is sounded:

“And the fifth angel blew his trumpet, and I saw a star fallen from heaven to earth, and he was given the key to the shaft of the bottomless pit. He opened the shaft of the bottomless pit, and from the shaft rose smoke like the smoke of a great furnace… Then from the smoke came locusts on the earth… They were allowed to torment them for five months, but not to kill them, and their torment was like the torment of a scorpion when it stings someone. And in those days people will seek death and will not find it. They will long to die, but death will flee from them.”
(Revelation 9:1–3, 5–6, ESV)

In other words:

• An angel is given a key to the shaft of the bottomless pit (the Abyss).
• The shaft is opened.
• From it come beings that torment those who are not sealed by God.

In the text, the star/angel is given a key and then uses it to open the shaft. This is not an asteroid smashing into the earth and cracking it open by accident. It is a deliberate, authorized opening of a locked shaft by someone who has been handed the key. Many watchmen (including CC) see that “key” not just as a mystical object, but as knowledge and technology—for example, the kind of mathematical and physics equations being handed to scientists at places like CERN, enabling them to push into areas God has kept sealed until this time.

In this advert, the basement door left slightly ajar works the same way:

• The door has not been flung wide open yet—it is just cracked.
• Even that small crack is enough to start transmitting the information and spiritual influence needed to open the portal further.
• As CERN and other experiments continue, more of that “key” (the technology and equations) is being applied to open the shaft of the Abyss.

I am not trying to prove the full CERN connection here—that would take at least another article with many more examples: CERN’s own promotional films, the Symmetry project, the Penitent Man imagery, CERN’s logos, the Gotthard Tunnel ceremony, and so on. My aim here is narrower:

• The advert presents Jake as a thief and destroyer.
• In the same environment, it shows a lower door left slightly ajar—like a visual shorthand for “the Abyss has been cracked open.”
• That picture lines up with Revelation 9’s language about a key, an opened shaft, and torment coming out of the deep.

Taken together, Jake’s character and the slightly open door are not cozy Christmas details. They are, in my understanding, intentional symbols: a deceiver-figure tied to the first cracking of a portal to the Abyss, as the world is prepared for the anti-Christ and for the release of things that will torment those who do not belong to Christ. If you have never read Revelation, I encourage you to read the whole book so you understand these events in context.

The Serpent of Stars and Saturn: Sign of the Returning Watchers

Referring back to the scene where Anna came to retrieve her stolen pencil (0:23 in the 2-minute video and 0:42 in the 3-minute video), the background décor shows a plaque showing a serpent formed out of stars and a ringed planet that clearly resembles Saturn, with a small craft shining a beam of light down onto its north pole.

A serpent made of stars is a very specific picture: a snake written in the language of the heavens. Biblically, stars are often used as symbols for angelic beings (“sons of God”), and Revelation speaks of the dragon whose tail sweeps down a third of the stars of heaven.

Genesis 6 describes the time before the flood when “the sons of God saw that the daughters of man were attractive” and crossed a boundary they were not supposed to cross. Jude adds that “the angels who did not stay within their own position of authority, but left their proper dwelling, he has kept in eternal chains” until judgment. The core idea is simple: there were heavenly beings who abandoned their appointed domain and descended into a place they were not meant to occupy, the earth.

Scripture also connects star-gods with the same devouring idol, Moloch, we saw earlier in the Myrrh Star scene. Through Amos, God says to Israel:

“You shall take up Sikkuth your king,
and Kiyyun your star-god—your images that you made for yourselves;” (Amos 5:26 ESV)

The Hebrew word Kiyyun here is not a generic word for “star,” but the proper name of a Saturn star-god borrowed from surrounding pagan worship. In other words, Amos is rebuking Israel for carrying images honoring a Saturn deity.

And Stephen, just before his martyrdom, says:

“You took up the tent of Moloch and the star of your god Rephan,
the images that you made to worship;
and I will send you into exile beyond Babylon.” (Acts 7:43 ESV)

So the Bible itself links Moloch, a devouring idol, with a Saturn-type star-god and with man-made images of worship.

Modern astronomy has added another layer that occult systems often exploit. NASA spacecraft have imaged a persistent hexagonal storm pattern at Saturn’s north pole—first seen in Voyager data in the early 1980s and later shown in striking detail by Cassini around 2012. When you project that hexagon down into a flat symbol, it fits neatly inside a six-pointed star; when you extend it into three dimensions, it becomes a cube. Many occult traditions explicitly speak of a “star of Saturn” and a “Saturn cube,” and they build them into their symbols.

Once you begin to look for that combined star-and-cube motif, you see it everywhere: in public art, in memorials, in corporate branding, and woven into the designs of multiple religious and financial institutions across the world. It is not limited to any single denomination or people group. It is a sign of a system.

I believe this is what the plaque in Jake’s room is pointing to. The craft on it is shining a beam directly onto the top of the ringed planet—exactly where the real hexagon sits in NASA’s images. In symbolic terms, the ancient “watchers” (the rebellious sons of God) would have seen that hexagonal crown from their vantage point and marked it as an emblem. A serpent made of stars connected with the Saturn-like body says, in picture-language: the fallen star-beings are tied to this Saturn star-god, and their story is written into the heavens and into the symbols of the cultures they influence.

Taken together, the serpent-of-stars and Saturn imagery suggests that the same “serpent-star” powers that marked earlier Babylons are now being cast down from heaven and brought back to the center of the world stage.

There is also a “bread” theme running through all of this. In the wilderness, Satan tempted Jesus to turn stones into bread — to produce earthly bread on Satan’s terms. Jesus refused and answered,

“Man shall not live by bread alone,
but by every word that comes from the mouth of God.”
(Matt 4:4)

Jesus is the true manna from heaven—the living bread, the Word of God made flesh (John 6:48–51, 58; John 1:14). False bread is man-made spiritual “food” that looks holy but quietly cuts people off from Him.

In that light, the Saturn star-and-cube motif often works like a logo stamped on false bread. Wherever that pattern is woven into architecture, symbols, or liturgy, it is a quiet claim: “We will feed you. We will define truth for you.” The label on the system may vary — religious, cultural, or ideological — but the pattern is the same: people are given something that feels sacred while being steered away from the living Word of God and direct relationship with Him.

I am not singling out one denomination or tradition here. Scripture says, “the whole world lies in the power of the evil one” (1 John 5:19), which means counterfeits can appear in many places. My concern is not that sincere people are seeking God, but that powerful systems are serving them the wrong bread under a pious wrapper.

In contrast to this, Jesus did not come to found a religion. He came to call us into a Way: to love God, and to love our neighbor as ourselves. That is not a man-made “religion” but a living relationship of faith and obedience. Anyone, from any culture or background, can choose to love God and to love others, and I believe God ultimately judges the heart, not by the label of an institution. The serpent of stars and the Saturn cube point to a counterfeit. The plaque in Jake’s room is, I believe, one more signal that the same ancient powers are at work again—and that the world is being prepared for their return.

The Letter “A Story Book and a Baby Owl” (1:40)

At 1:40 (2:30 in the 3-minute vide), you can see a letter that asks for “A story book and a baby owl.” At the top it says “6 years,” and there are seven packages under the tree—another six-over-seven pattern.

CC’s explanation helped tie this together:

• The baby owl is connected to Moloch the Owl, the “baby eater” of the Old Testament, and is the “bird-god” of Freemasonry.
• The storybook represents the total control and corruption of information, the “authorized narrative” of elites.
• Put together, they show that the plan is to capture and indoctrinate the children while killing the adults in World War 3.

So that little letter, tucked away in the corner, is not cute. It is a coded statement: they are coming for our children; the adults are being prepared for slaughter.

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Spiritual War, Not Hatred of Peoples

Because this subject touches sensitive ground, I want to be clear about one thing.
The enemy is not a race, a nation, or a religion. Scripture says our struggle is “not against flesh and blood” but against powers and authorities in the unseen realm (Eph 6:12). There are people in every country and across every faith who are genuinely trying to love their Creator and their neighbor—Jews, Muslims, Hindus, Christians, Arabs, Russians, Americans, Chinese, and many more.

When I speak about a “synagogue of Satan” (Rev 2:9; 3:9), I do not mean that one whole people group or religion is the enemy. I mean a spiritual counterfeit leadership that can sit inside any structure that cooperates with it—religious, financial, political, or cultural. Judas Iscariot was a disciple of Jesus and also a betrayer; his betrayal did not make all the disciples evil. In the same way, the fact that a dark inner circle hides inside a given institution does not mean everyone under that label belongs to it. (If you’ve read The Wheel of Time, think of the Black Ajah hidden inside the White Tower: a dark faction inside a larger body, not the whole body itself.)

God’s desire is that people in every nation would turn and live. Satan’s desire is still to steal, kill, and destroy—through deception, war, and fear.

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Why I’m Yelling “Fire”

Some people worry about “yelling fire in a crowded theater.” I have thought about that too.

• If someone yells “fire” as a joke, it is a serious crime.
• If there is a fire and someone yells “fire,” it’s the right thing to do.
• If someone truly believes there is a fire—even if they turn out to be wrong—it is still the right thing to do to sound the alarm.

Scripture speaks directly to that responsibility. In Ezekiel 33 God says:

“But if the watchman sees the sword coming and does not blow the trumpet, so that the people are not warned, and the sword comes and takes any one of them, that person is taken away in his iniquity, but his blood I will require at the watchman’s hand.

“So you, son of man, I have made a watchman for the house of Israel.
Whenever you hear a word from my mouth, you shall give them warning from me.”
(Ezekiel 33:6–7, ESV)

Other passages speak not only of warning but of leaving. Over end-time Babylon the word is:

“Come out of her, my people, lest you take part in her sins, lest you share in her plagues.” (Rev 18:4)

and

“Flee from the midst of Babylon; let every one save his life! …
Be not cut off in her punishment.” (Jer 51:6)

Those are not soft suggestions to mildly distance ourselves from a “system.” They are Sodom-and-Gomorrah-level commands: when judgment is appointed for a place, the word is flee.

I believe there is a fire coming that will burn millions. I believe most of the world’s population will not survive what is ahead. And I believe this Marks & Spencer advert is one of many signals from the enemy’s side saying the same thing.

So I am not going to soften this:

• I believe the Illuminati are marking the United States, London, Scotland and Australia for destruction.
• I believe World War 3 is being signaled openly in this advert.
• I believe the night that is coming is very dark, and closer than most people think.

You might not share my conclusions. But I ask you to consider what you have seen here—and if you begin to see the same sword I see, to take God’s warnings about the watchman and His call to “come out of her, my people” with the seriousness they deserve.

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Why the Symbolism Is Hard to Dismiss

I would certainly understand if you might be unsure about some of my deeper interpretations. But let me invite you to do a simple test.

Watch the 3-minute Marks & Spencer advert and pause at some of the timestamps we’ve discussed and compare to the images:

• The artillery shell on the reindeer’s back.
• The dead reindeer heads mounted in two rows of three.
• The R-Dolf helicopter with “Myrrh Star” packages.
• The portal framed by goats and horses.
• The tank moving along the wall against the tower.
• The Myrrh Star package on the Native-American tapestry.
• Jake’s mirror letter asking for a “BIG blast… really nasty and potent” and saying Tiger likes arenas.
• The dove wreath before and after the heart-hole appears.
• The mince pies and the wine turning black, with six candles.
• The red shoes and Anna’s snow angel.
• The September 23 wall with old hangings thrown down and the black stairway to “heaven”.
• The more technical details in Jake’s room, the Thames floodgates of London.
• The letter asking for “A story book and a baby owl.”

Then ask yourself honestly:

• Are these all just coincidences in a simple Christmas ad?
• Why does a “family” advert need a dove with its heart removed; tanks and artillery shells; helicopters and submarines; portals and floodgates; death-themed gifts; and anti-Christ style coding?

You can reject my conclusions. But I don’t believe anyone, looking at all of this together, can honestly say “there is nothing there.”

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Learning to See Before the Night Falls

My website’s opening line is: “Morning comes—but also night.” That comes from Isaiah 21:11–12. I believe we are living in the last hours before a deep night falls on the earth—a night of conflict, deception, and persecution.

I am not showing these things to make you panic, but I also do not believe they are meaningless background decoration. I am showing them because I believe we are in that twilight hour, and I would rather face what is coming with my eyes open and my heart turned toward God than be caught off guard when the fire is already in the theater.

For me, responding to this is simple and concrete:

• To turn back toward God Himself, not a religious label—to ask Him honestly to show me the truth about my own heart, even when it cuts my pride.
• To open the Bible with a sincere heart and let His words speak, instead of trying to manage my own behavior in my own strength. Real repentance is not the flesh crucifying the flesh; it is God changing us from the inside as we keep coming to Him.
• To ask Him to teach me how to love Him and to love others in real ways—in how I listen, forgive, give, and how I treat the people right in front of me. That is the core of the two greatest commandments.
• To be willing to follow Him wherever He leads, even if that means stepping out of comfortable labels, institutions, or even locations that are under judgment, so that I belong to Him and not to the system.

Many people, from many religions and backgrounds, assume they are “close to God” because they like the idea of Him or are attached to a tradition. Jesus warned that there will be people who hear Him say, “I never knew you.” For me, the essential question is not “What group am I in?” but: Do I actually know Him, and does He know me?

Whether you agree with every point I’ve made or not, if anything in this article stirs you, I encourage you to take it to God directly. Speak to Him in your own words. Ask Him to show you what is real and what is not. If you have access to the Bible, open it with an honest heart and pray, “Show me Yourself here.” The symbols are everywhere. The story is being told. The only safe place, when World War 3 is no longer coded in adverts but playing out in real time, is to be in a true, living relationship with the One who already told us these things in advance.