Category: Illuminati Messaging

American Pie – Part 3

Don McLean’s “American Pie”: The Deep Decode

In Part 1 I argued that American Pie is not just a nostalgic song about the 1960s, but a prophetic warning about the fall of America—Rome burning in modern clothes. Don McLean himself now says that politics and music flow together in the song, and that the verses grow “more dire” all the way to the end. I also introduced the “deleted verse” with its five-year marker, and why I believe that timing could only have come from God.

In Part 2 we looked at Madonna’s American Pie video. Her version is shorter, and the story told by the symbolism is direct and easy to follow. It exposes some of the basic alphabet of the code: numbers like 101, 1:59, 6 vs 7, 13, and 66, along with key images tied to the coming of the antichrist and the New World Order.

The McLean video picks up where Madonna’s leaves off. It deepens the meaning of those symbols and gives a far more detailed picture of America’s coming collapse and the events leading up to it. Because of that added depth, I have split my discussion of the McLean video into two parts: this Part 3, Don McLean’s “American Pie”: The Deep Decode, and Part 4, What This Says About America’s Future.

If you grew up with Captain Crunch cereal, you know what I mean when I say this video is, to me, the Captain Crunch decoder ring of Illuminati symbolism. Not only do the symbols appear conspicuously, but the video also includes some of the key information needed to understand and confirm their meaning. It is the oldest video I know of that uses this full symbolic system—and after it, the same code shows up in many mediums all over the earth.

“59” and the Little Horn

We start with what the video makes impossible to miss: the number 59.

At 0:59 into the McLean video, there is a conspicuous “59” on the pavement. It is framed so the viewer’s eye lands on it, and the timestamp matches it. That kind of precision is the video telling you, Pay attention—this number matters.

In that same shot, a hula hoop circles a pair of black shoes, emphasizing the footwear as part of the marker—not just the digits.

At 2:55, there is another pavement marker. At first glance it reads like a “65,” but the motion of the frisbee hints the number is meant to be rotated, revealing it as “59.”

Here the frisbee lands near red shoes, pairing red with the earlier black and reinforcing the same red/black duality we established in Part 2 as colors tied to New World Order. I’ve rotated the image to make the “59” easier to see.

If the video is deliberately signaling “59,” the next question is: what does 59 mean?

I found a meaning answer to this question through the use of “simple gematria”. In simple gematria, each letter is assigned a value (A=1, B=2, C=3 … Z=26), and the values are summed. Using that method, “59” can be attached to specific identities/attributes that appear in the story.

“59” is the simple gematria value for “Joker”, “Shiva” and “Negro” and each of those words is then reinforced by the imagery in the video. You can verify the values here:

First, Joker. There are two scenes—one beginning at 2:24, and another beginning at 4:54—that show the Joker (or Jester) pulling pranks and winning over the heart of the “queen” (America). To understand the analogy, hold it up to the lyric frame: “When the jester sang for the king and queen.”

In this decode, the king is God—because the antichrist’s project is ultimately a global rebellion of man against God. And the queen is the heart of America, the harlot of Revelation, who says in her heart, “I sit as a queen” (excerpt from Revelation 18:7).

In the first scene, the first boy—representing a legitimate government—pushes the car forward to get it started again, with the car symbolizing the nation’s path. When it starts, the boy falls, and the Joker drives away with the girl. In the second scene, while the “legitimate” side is trying to fix a flat tire, the Joker grabs a bottle of rum and runs away with the girl to intoxicate her.

As I pointed out in Part 1, McLean ties the song to U.S. politics, and indicates that the “jester” is an actual person—not just an abstract idea, and not James Dean.

Those two sequences confirm the “Joker” meaning attached to the “59” tag.

Next, Shiva: At 4:27 there are cheerleaders in a Shiva-style pose. Since the cheerleaders’ arms and legs appear semi-transparent—an artifact consistent with the limitations of CGI at the time—it’s clear this “multi-limbed” look was constructed, not casually captured. That extra effort is part of what makes this moment read like a deliberate symbol rather than an ordinary cheer pose.

Shiva is a Hindu deity commonly associated with destruction and transformation, and in modern symbolic messaging this motif often functions as “rebirth through destruction.” I mention this here because the same symbol shows up repeatedly across unrelated media, which is one way this code signals that it is a system rather than a one-time artistic flourish.

Shiva is also used as a public-facing symbol connected to CERN (via the Shiva statue), which— as I briefly touched on in Marks & Spencer Xmas Advert Exposed—many believe is tied to opening the “abyss” imagery of Revelation 9:1-2.

The following image depicts Obama as Shiva, and shows the CERN Shiva statue:

Finally, Negro: At 3:42 into the video we see a Black man is shown looking in through a window. I’m using the word “Negro” here only because it is the gematria term being signaled by the frame and the era of the video—not as a slur.

At first glance, the scene can look like racial exclusion: the man is outside, and the people inside appear to be white, while the lyric line is on “dirges in the dark.” But on closer inspection, the sign reverses the first impression. It reads: “NOBODY CAN BE BROUGHT TO THESE PREMISES.” I enlarged and mirrored the frame below to make the lettering easier to read.

Note: in the current version of the video, this signage is no longer readable in the same way; the still below is from an earlier version.

Now “59” is no longer just a number. In is a framework, it becomes a label for a specific composite portrait—the Joker / Shiva / Negro identity for the antichrist figure.

Beyond gematria, there is another reason “59” fits as a numeric “mark” inside this symbolic system: it is the 17th prime number. And 17 functions as a compact beast-marker because Revelation 13 describes “a beast rising out of the sea, with ten horns and seven heads” (Revelation 13:1, ESV). Seven heads plus ten horns/crowns yields 17, which is why “17” is repeatedly used in this code to point back to the beast. “59,” as the 17th prime, then becomes a natural candidate for a recurring numeric tag. In this read, that same beast later turns on the harlot who rides it (Revelation 17) and establishes what is commonly called the New World Order.

Not convinced yet? We are just scratching the surface.

Now we build one step deeper—because 59 often appears with a “1.”

I already touched on this in Part 2 with the 1:59 marker in Madonna’s video (the demon-birth moment). Now I will connect this “1” to the “little horn” language of Daniel 7 and Daniel 8.

Below is Yale’s Skull & Bones emblem. The reason it belongs here is because it includes the same “1 + 59” pattern we’ve been tracing.

I include a fuller breakdown of the many messages embedded in this emblem at the end of this article. In short, I read it as pointing to global conflict that culminates in the rise of the antichrist and a rebellion of man against God.

Here, I’m focusing only on the numerical structure.

Starting with what stands out most, there is an obvious 322 printed at the bottom.

Next is an 11/6 pattern. This is discerned by counting the teeth: there are eleven in total, and six of them are noticeably longer. That tells you the emblem is meant to be read numerically, and it also hints at how the “1 + 59” pattern is encoded.

Now look at the ends of the crossbones—where “knees” would be—marked by small nubs. In this read, there are nine nubs in total, and five are longer, yielding a 5 and a 9—a “59.” That count is not as obvious as the printed 322, but it fits the same numerical method suggested by the teeth.

And one detail seals the intent: on the top-right crossbone, one nub is conspicuous and extra long. That standout nub functions as the little horn marker—the “1” placed into the “59,” giving a compact 1:59 signature.

There is much more symbolism in this emblem, and I walk through it at the end of this article for anyone who wants the fuller context. It took me two years to decode once I began recognizing the system.

With that groundwork laid, the McLean video then hits the viewer with the most loaded “1 + 59” placement in the entire piece.

At 5:19 into the video, the graduation / ceremony scene is staged as a procession.

Upon closer examination, it reads to me as a ritualized march of sacrifices. We are nearing the lyrics:

Oh and as I watched him on the stage
My hands were clenched in fists of rage
No angel born in Hell
Could break that Satan’s spell

Notice the heart shape on the table to the left. It represents a sacrifice table. Notice the streams of red coming down from the podium—blood imagery. It represents a guillotine.

The students are dressed in red and are walking up a red carpet, representing blood sacrifices. The video then reinforces the sacrifice reading with a short sequence:

First, at 5:33, we see a girl looking up at the podium with a concerned look on her face.

Then at 5:36, we see a boy standing in front of the table of sacrifice releasing a dove into the air—representing that he is letting go of his spirit, dying.

There is quite a bit more in the section of the video around “Jack be nimble, Jack be quick… ’Cause fire is the devil’s closest friend,” but we will dive into that in Part 4. Here I’m staying focused on the little horn and “59” symbolism.

The timestamp for the opening of this scene is 5:19—a “59” split by a “1.”

The little horn is placed in the middle of 59. This mirrors a pattern from Old Testament sacrifice:

And [Abram] brought him all these, cut them in half, and laid each half over against the other… As the sun was going down, a deep sleep fell on Abram. And behold, dreadful and great darkness fell upon him…. When the sun had gone down and it was dark, behold, a smoking fire pot and a flaming torch passed between these pieces
(Genesis 15:10, 12, 17)

God walks down the middle of Abram’s sacrifice in a dark night.

In this symbolic system, the “1” (the little horn) is walking down the middle of the divided sacrifice as the earth falls into that “dreadful and great darkness”—the night that comes before the Bright Morning.

So to summarize: the video clearly marks “59” as a special number. I have shown a system that fits both the video and the lyrics, giving “59” meaning through gematria as a set of characteristics attached to the antichrist—the little horn of Daniel 7 and Daniel 8. That also fits with how “59” is repeatedly paired with “1,” both in the McLean video and in Madonna’s (including the demon-birth moment at 1:59). I am unaware of any other explanation for why “59” is emphasized this heavily in this video—or why so many videos use 1:59 as a marker for destruction or antichrist birth. The American Pie videos were taken down for about three months after I first exposed these symbols and contacted McLean’s agent (as I described in Part 1).

So draw your own conclusion. If you’re still reading, it’s probably not because of skepticism anymore, but because you have the heart of a lion. These things are hard to look at. It is hard to imagine the evil lurking under the surface of so many icons of our society—and appearing again and again around the world.

This isn’t the last you will see of the little horn / “59” symbolism. It is all around us if you have eyes to see it. Now we are moving on to the 101 symbolism.

101— A Portal Between Temple Pillars

Just like the Madonna video strongly signals “101”, which we decoded in Part 2, the McLean video also strongly signals 101.

At 0:19 into the McLean video, a man walks past a church. The fuller examination of the video will reveal that this man represents Jesus. As he passes, the lyrics speak of music that “used to make me smile,” and of having “my chance” to “make those people dance.” The visual response is not joy. It is separation.

Alongside the church building, there are two tall, pillar-like bushes with a window between them forming a visual “101” pattern.

I recognized this pattern because when I lived in New Zealand, I lived across the street from a Freemason lodge. Here is a photo I took of this Freemason lodge in New Zealand.

We will get to the actual meaning of 101 shortly, but here, the message is that another spiritual access point has been inserted alongside the church—something counterfeit, something hostile to true communion with God. That is why Jesus does not enter. He passes by.

Scripture warns repeatedly that shepherds and teachers will be corrupted, and that many will prefer comforting myths over truth (Jeremiah 23; Ezekiel 34; 1 Timothy 4:1–2; 2 Timothy 4:3–4). The McLean video places that warning right at the beginning: the church is there, but the gateway beside it is not the church’s friend. Specifically, my read (and my personal experience, which I will explain in Part 4) is that false doctrine planted by Freemasonry (which is subservient to the Illuminati, my reference for Satan’s highest level organization on this earth) has infiltrated U.S. churches. I believe this influence has been exerted institutionally through seminaries and denominational controls focused on garnering members and money, and on comfort-centered. We should not be surprised by Satan’s pressure on the churches to replace real relationship with God with feel-good religion.

At 1:01, the camera lands on a car priced at $599.

In this visual alphabet, 101 / lOl reads as pillar–portal–pillar: the “1” shapes function like uprights, and the “0” functions like an opening.

This does two things at once. First, the timestamp repeats the gateway marker (1:01). Second, the price $599 embeds the earlier numeric tag (59) inside the moment of 101—as if the video is saying: when the portal opens, this is what comes through. In the broader symbolic system, that gateway language is tied to temple ritual and sacrifice—a counterfeit “opening.”

And the “99” at the end is not just a price flourish. If you rotate the two 9s—as the video already signaled with the earlier 65→59 cue—they read as 66, tying back to the Ring of Six theme established in Part 2. The point is not that every viewer will decode every layer on the first pass. The point is that the video stacks 101 + 59 + 66 into a single beat: gateway imagery, the antichrist-identity tag, and the ritual language of “rebirth” through destruction.

At this point, it helps to step back and say plainly what this section is showing: this code isn’t confined to one music video. The same gateway marker appears across media and across nations—exactly as Scripture says:

“We know that we are from God, and the whole world lies in the power of the evil one.”
(1 John 5:19, ESV)

That’s why I include the next image.

On the main runway at Donetsk, the pro-Russian side painted a huge “#101″ beside a child silhouette. Locals were told it commemorated the number of children killed early in the conflict—but my friend who lives in Donetsk right on the border of the conflict informed me that the number of children killed was significantly higher. Rather the scale and styling read like the same global “101” signature: a portal mark stamped onto public space in the middle of war messaging.

The silhouette is filled with many dot-marks; I believe there are 59 of them. The figure on the ground also appears arranged in a cross-like shape. Taken together, that reads as another “101 + 59” pairing—again linking the gateway marker with the same identity tag we traced in the McLean and Madonna videos. And it shows that this pairing appears on both sides of a global conflict—reinforcing the point of 1 John 5:19: the whole world lies in the power of the evil one. It also fits the conquest pattern Scripture describes—power expanding across nations under a single unseen drive (Revelation 6:1–2): the white horse of conquest, first of the four horses of the apocalypse.

Finally, Heliofant’s I, Pet Goat II compresses the same 101 + Negro + Joker/Jester (59) + “resurrection” (66) + little horn stack into a single frame.

At 1:11 in the video, Obama is positioned behind a podium marked with a “101 / lOl” pillar–portal–pillar symbol, and a conspicuous purple tassel extends from the “O” (the portal) to the left side of his head—a visual line that reads as a connection from the portal to the mind. In the same moment, he is snickering—fitting the Joker/Jester thread we already tied to the “59” tag. I use snickering rather than laughing because Daniel describes this ruler as “understanding dark sentences” (Daniel 8:23, KJV)—speech with concealed meaning. I’ll return to that pattern in future posts.

That same frame stacks additional “confirmation” cues. Above him is a shark, and the shark has a little-horn where its eye should be. A shark is the ultimate hunter of fish. Nimrod—the leader of the first rebellion of man against God—is called “a mighty hunter” (Genesis 10:8–9). Later interpretive tradition sometimes expands that “hunting” into oppression and renders it as “hunter of the sons of men.”

The timestamp itself—1:11—also reads like 101, but here the portal is “filled.” For a split second, the “1” (little horn) occupies the gateway—matching the frame’s central emphasis. And the Resurrection of Osiris, tied to 66, also points in the same direction, because Revelation describes the beast’s mortal wound being healed, to the astonishment of the world (Revelation 13:3; see also 13:12, 13:14). Taken together, this is why I read the symbolism as pointing to the moment Satan consummates with the mind of the man who becomes the antichrist.

This is where the symbols connect in a concrete way. In this symbolic system, 101 is not neutral scenery: it’s temple imagery, and temple imagery implies blood-sacrifice logic—the “price” of opening a spiritual gateway. That gateway then pairs with what you’ve already seen stacked beside it: 59 (identity) and 66 (rebirth/resurrection language). Read through Scripture’s lens, the “resurrection” emphasis points toward the beast’s mortal wound being healed—presented in this messaging as an awaited culmination by the global elite who craft and spread this symbolism.

FEAR ME and “23”

This sequence begins around 1:26 as the lyrics shift into direct questions about faith—whether trust is anchored in the Bible, or in another spirit dressed up as “music.”

Did you write the book of love
And do you have faith in God above
If the Bible tells you so?
Do you believe in rock and roll?
Can music save your mortal soul?

As students move in and out of the school, a banner on the building reads: “FEB 3 – FEAR ME.”

It’s easy to miss because it’s embedded in a school dance banner. Zoomed out, “FEAR ME” can look like the start of “Featuring …”—which is why I’m showing the context next.

From there, the lyrics move fully into the dance theme:

And can you teach me how to dance real slow?

Well, I know that you’re in love with him
‘Cause I saw you dancin’ in the gym
You both kicked off your shoes
Man, I dig those rhythm and blues

The lyrics and visuals subtly point to conflict. “Dance” is often used as a metaphor for conflict handled with delicacy and precision—a sword dance, a dance of words, a careful contest where one party is trying to pull another into his lead. In the video, two young men are competing for the attention of the same young lady. However, I believe the lyrics point to something personal: which “music,” which spirit, which faith will you follow? The banner’s message (“FEAR ME”) sits over that choice like a shadow, turning the “dance” into a spiritual pressure point: intimidation meant to steer people toward the easier path.

So why Feb 3? In this symbolic system, dates often function as number-tags. Feb 3 → 2/3 → 23 and 23 shows up frequently in Illuminati symbolism.

The meanings of 59, 101 and 66 are clear to me. With 23, I can only postulate. At the most basic level, the message reads like this: as you weigh which path you will take, you will be pressured toward the easy—or wrong—path. Most people miss the narrow way because they follow emotion, comfort, or social pressure.

Jesus framed that same choice:

“Enter by the narrow gate. For the gate is wide and the way is easy that leads to destruction, and those who enter by it are many.
For the gate is narrow and the way is hard that leads to life, and those who find it are few.” Matthew 7:13–14 (ESV)

My best working hypothesis for “23” is that it points to two threes—two interlocking triangles (the so-called star of David)—because Scripture itself uses star language when it describes rebellion and idolatry. Stephen quotes that language directly when confronting Israel’s pattern of turning from God just before he is martyred:

My best working hypothesis for “23” is that it points to two threes—two triangle that can be rendered as an image of two interlocking triangles or the star of Saturn. Stephen quotes that prophetic “star” language directly when confronting Israel’s repeated turning from God—just before he is martyred:

“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)

Stephen was quoting from Amos 5:26:

“You shall take up Sikkuth your king, and Kiyyun your star-god—your images that you made for yourselves.”

The banner is real (“FEB 3 – FEAR ME”), the timing lands inside a faith-testing stanza, and the scene frames a choice around the girl at the center of the dance. I may not have the full subcode of “23” pinned down—but the surface message is unmistakable: fear is being planted as the motive force right where the lyrics press the question of what (and who) you truly trust.

Skull and Bones Emblem Fully Decoding

In the body of this article, I focused on the three numerical anchors I see in the emblem—322, 11/6, and a compact 1:59 structure. Here I’m adding a few non-numeric layers to give a fuller understanding of the emblem and its numbers.

On of the first things I notice is that the two thigh bones cannot be from the same body because of the way the “knee” nubs bend. Because they cross each other, they read as conflict—war.

In summary, the logo points to the coming of the antichrist system (the New World Order) through deception that culminates in war, and it supports the global elite belief in human ascension to the level of God.

The eyes are not symmetrical. A cloudy clockwise swirl begins on the forehead and feeds into the viewer-left eye. That eye is partly ringed by a hexagon-like swirl, and behind the socket I see a mouth.

On the viewer-left side of the skull, just left of that eye, is the silhouette of a face. This face matches Drako in Heliofant’s I, Pet Goat II. On Heliofant’s gallery page, Drako is described as:

“The Sorcerer, the unseen hand and spirit of madness seeking ever more control through trickery, lies, poisons, false-flag events, wars and mountains of beauracratic [sic] and legal framework to siphon off the energy of the inhabitants of the earth. He fears the light of day as he fears life itself, and operates in the shadows. His greatest power is his hold on the issuance of currency.”

This reinforces my understanding that when Satan consummates with the man that will become the antichrist, he will lose his right eye when he receives his mortal head wound, and will arise as the spokesperson of Satan. Zechariah 11 describes an antichrist figure as the “shepherd of the flock doomed to [be] slaughter[ed]” and the “worthless shepherd” and it also describes an injury he will sustain from conflict:

May the sword strike his arm and his right eye!
Let his arm be wholly withered, his right eye utterly blinded!”
(Zechariah 11:17, ESV)

A clear “human ascent” / New World Order message comes through if you read the emblem’s 322 and 11/6 as pointers into Genesis:

Then the Lord God said, “Behold, the man has become like one of us in knowing good and evil.”
(Genesis 3:22, ESV — excerpt)

And the Lord said, “Behold, they are one people, and they have all one language, and this is only the beginning of what they will do. And nothing that they propose to do will now be impossible for them.”
(Genesis 11:6, ESV)

It might also be a reference to Genesis 6:11, which led to the world’s destruction:

Now the earth was corrupt in God’s sight, and the earth was filled with violence.
(Genesis 6:11, ESV)

We already covered the meanings of 1:59 (the little horn and the beast/antichrist) and 11/6 (the Ring of Six / “resurrection” framework I discussed in Part 2). But 11/6 also echoes in a few other ways:

  • Rotated, 11/6 becomes 9/11.
  • 11:06 is the 666th minute of a day (11×60 + 6 = 666).
  • November 6, 2008 was declared a public holiday in Kenya, where many believe Obama was born.
  • I’ve also documented an “11/6” pattern embedded in a sidewalk feature in Jūrmala, Latvia, which I plan to cover in a later piece about places marked for destruction.

Some high-profile figures widely reported to have been members of Yale’s Skull and Bones society include George H. W. Bush, George W. Bush, John Kerry, William Howard Taft, and Prescott Bush.

Some treat 322 as a date-signature—March 22—a day near the spring equinox that has coincided with major events. A friend I learned from early on predicted the date of the Brussels airport bombing (March 22, 2016), and the Westminster Bridge attack also occurred on March 22, 2017.

I do believe dates can be signaled in this symbolism, but the layer is purposely deceptive and easy to misread. I was able to anticipate the dates of several events—such as the Orlando Pulse nightclub attack (June 12, 2016) and the Las Vegas mass shooting (October 1, 2017). I believe I, Pet Goat II (released 2012) foreshadows the Pulse date. Notice the numeric pattern: 6/12 can be read as 6 + (6+6) → 666, and 10/1 reads as 101. Other high-profile events land on similar number-structured dates, including: Trump’s Jerusalem announcement (December 6, 2017), the Trump–Kim Singapore summit (June 12, 2018), and Iran’s major missile attack on Israel (October 1, 2024).. Another Trump–Kim meeting fell on the 59th day of the year (February 28, 2019).

So I’m not date-setting here. I’m only noting that 322 is often treated as a date-signature, and that certain dates recur in ritual-style signaling. Even if the date layer is disputed, the emblem’s intent remains readable.

American Pie – Part 2

Madonna’s “American Pie”: The Simple Code

In Part 1, I argued that American Pie is not just a nostalgic song about the 1960s but a prophetic warning about the fall of America—Rome burning in modern clothes. Don McLean has now admitted that politics and music are flowing together in the song, and that the verses grow “more dire” until the end. I also introduced the “deleted verse” with its five-year marker and why I believe that timing could only have come from God.

Now we turn to Madonna’s version of American Pie.

On the surface, it is shorter and lighter. But, it functions as a kind of “primer” or simple code. It introduces key symbols—numbers like 1:01 and 1:59, colors like red and black, the “Rebels” cheerleaders, the “sacred store,” and the final flag—so that once you see them here, you can recognize the same pattern in more complex videos, especially in the video made for McLean’s version of the song.

This is a version of the video I reference in this article: https://www.youtube.com/watch?v=PRa9ulVPZYA. In earlier versions, some of the images were clearer, especially the frame at 1:59. In this version that frame has been slightly blurred, but it still shows enough that, if you slow the playback, you can see the shape. I kept an older copy of some of the images, so where the newer version has been softened I will use still images from the original.

In Part 1 I mentioned how all versions of the American Pie videos briefly disappeared from the internet after I contacted McLean’s agent; to me, this later “cleanup” of the 1:59 frame fits the same pattern of quiet sanitizing.

The Jester at 1:01 – 101 as a Gateway

At 1:01 into Madonna’s video, we see a figure that looks like a Baphomet-style jester, framed between two women and holding a teddy bear. One woman is dressed in red, the other in black.

This is the “jester” figure McLean hinted at in his interviews—a real man in our time tied to politics, not just a generic clown. Here he is shown in a demonic form, like a Baphomet, with two spirit-like or coven-like women beside him. His mouth is painted black to illustrate that he will speak words from the kingdom of darkness. He stands slightly in front of the two women, to show that he is coming out. The teddy bear serves as a third spirit, completing the picture of three spirits around him and echoing Revelation 16:13: “And I saw, coming out of the mouth of the dragon and out of the mouth of the beast and out of the mouth of the false prophet, three unclean spirits like frogs.”

The timestamp 1:01 itself is important. “101” is symbolic of a gateway or portal between two temple pillars, and since first noticing it here I have found anti-Christ figures appearing at 1:01 in several other videos that use similar symbolism.

Red and black are not random fashion choices. They are the colors associated with the coming New World Order—the end-time beast system of Revelation. So in one frame we have:

  • a jester / Baphomet figure,
  • framed between two “pillars” (the women),
  • at 1:01 (a gateway),
  • in red and black (beast colors),
  • surrounded by three symbolic “spirits” echoing Revelation 16:13.

This is the enemy quietly flagging: Here is the birth-gate for the anti-Christ system.

The Demon at 1:59 – Birth of the Anti-Christ

At 1:59 into the video, for a single frame in the original version, there is an image that looks like a demon emerging from between spread legs—like a birth. You need to slow the playback to 0.25x speed and tap play/pause around 1:58–1:59 to catch it. It forms and disappears very quickly, and in the newer version it’s not quite as well defined.

If the jester at 1:01 marks the gate, the demon at 1:59 marks the birth. This is not random art; it is a symbolic “delivery” of the antichrist into the world system.

The number 1:59 (or simply “159”) shows up repeatedly in Illuminati-style symbolism. Alongside 101, it is one of the timing marks I notice often. In brief, the “1” points to the “little horn” from Daniel’s visions (in Daniel 7 and 8), and “59” functions as a numeric marker for the antichrist—something we will unpack more fully in Part 3. Madonna’s video uses both:

  • 1:01 – gateway / conception
  • 1:59 – birth

Together, they form a pattern: a spiritual conception of the anti-Christ at 1:01 and his “birth” into the world system at 1:59.

In Part 3, we will look at how the McLean video and the Skull and Crossbones logo reinforce this same 1:59 pattern and confirm the 59 gematria behind it. If you learn these marks, you will start to notice them in many places. For example, on my Turkcell cellphone, *101# tells me my phone number and *159# gives my account balance. Coincidence? I think not.

A later echo of the same image is the She-Guardian statue that stood at Marble Arch in London from 2015 to 2016—a winged, dog-like “guardian” with its mouth open, 11 meters (36 feet) high.

To me, it looks like the same winged dog demon from 1:59, now grown and enthroned in a London gateway rather than still “in the womb” of the Madonna video. In my reading, the height itself is part of the message: 11 is a common Illuminati number, and 36 is a pyramid number whose sum from 1 to 36 equals 666—a shorthand for the beast.

Seen together, the jester at 1:01, the demon at 1:59, and She-Guardian sketch a sequence: conception, birth, and public maturity of the same beast system.

The Football Team – 6 vs 7 in Plain Sight

Madonna’s video gives one of the simplest number codes through the football team.

At 3:20, we see an American high school football team posed in front of the U.S. flag. The quarterback wearing number 7 leads, calling the plays.

Later, at 3:56, the scene returns. This time another quarterback wearing a 6 steps forward to take his place. The 6 on his jersey is just slightly higher than the 7.

This is very common Illuminati symbolism. 7 is God’s number (our Creator rested on the 7th day), and 6 is the number of man (God created man on the 6th day). When you see 6 over 7, it pictures the doctrine, held by globalists and Satanists, of man’s ascension through knowledge to lift himself above God. I have pointed out the same pattern in my Marks & Spencer article, and you can see it in everyday products as well, such as these of Union Gas (Rockefeller) and Molson Canadian beer:

Notice how in each logo the “6” rides a little higher than the “7.” The same story: man rising above God, breaking His rule, “improving” on His design. In short, 6 v 7 represents the rebellion of man against God. In these end days, the rebellion will be led by a man commonly referred to as the antichrist:

The Bible describes him this way:

“Let no one deceive you in any way. For that day will not come, unless the rebellion comes first, and the man of lawlessness is revealed, the son of destruction, who opposes and exalts himself against every so-called god or object of worship, so that he takes his seat in the temple of God, proclaiming himself to be God.” (2 Thessalonians 2:3–4, ESV)

The number 42 is an extension of the 6 v 7 symbolism. 42—6 x 7—pictures man in an extended, head-on collision with God. It is not an accident that 42 keeps surfacing at moments of judgment. In 2 Kings 2, forty-two boys are judged by two bears after they mock God’s prophet. In Revelation, the beast is given authority to act for forty-two months. Even the structure of Daniel quietly echoes it: Daniel 7 shows war between four beasts (World War III), and Daniel 8 shows two beasts (World War II)—a 4-2 pattern that again ties 42 to end-time conflict.

The two bears in 2 Kings 2 are a picture of the two witnesses of Revelation 11, who will confront the nations when mankind is in open rebellion against God. So 6 v 7 is the rebellion of man versus God, and 42, as 6 × 7, is that rebellion reaching its appointed climax.

The center of The Hitchhiker’s Guide to the Galaxy is a supercomputer that announces “the ultimate question of life, the universe, and everything” is 42. Satan is speaking plainly: the meaning of life is 42—the clash between 6 and 7, man and God. Anyone who knows the Bible can see the symbol, but our culture has thrown away both Scripture and acknowledgement that Satan is the prince of this world (1 John 5:19). The message is clear; what is missing is the biblical lens to recognize what is being said.

Madonna’s football sequence uses exactly that language. First, 7 leads the team – our nation tries to let God lead. Then 6 steps up and visually overtakes him – then we rebel against God and try to lead ourselves. That is the backbone of the 6 vs 7 symbolism we will see again in the cheerleaders and in later videos, which shows us how it will end.

The Cheerleaders – From Patriotism to Mind-Controlled Subservience

The cheerleaders appear several times, together telling a dark story of descension of the nation from our Patriotic beginning to beast-like servitude.

Patriotic Rebels

At 2:17, and earlier, they look like stereotypical American high school cheerleaders: energetic, smiling, and clearly framed by the American flag. Their uniforms say “Rebels.”

The “Rebels” uniforms stand for patriotic Americans who see themselves as willing to resist tyranny. This taps into the mythos of the American Revolution, the “land of the free and the home of the brave,” and slogans like “Live Free or Die”—the motto of my home state, New Hampshire. These are the people who think of themselves as on the side of freedom, rule of law, and the Constitution.

Controlled Rebellion – Antifa Echoes and 2:01

In some shots, including this one at 2:01 in the video, another layer appears. Over the dancing “Rebels” you can see strange, curved shapes superimposed on the image—almost like scattered puzzle pieces.

A friend who reviewed my earlier analysis pointed out that these shapes resemble the shape of the Antifa logo: which also uses red and black.

Here is how I read this: the rebel ethos that originally gave us constitutional freedoms has been hijacked. Instead of fighting for true liberty under God, people are channeled into street movements where “rebellion” is carefully controlled. The same spiritual power that once encouraged real resistance now directs rage against a contrived enemy, driving us toward a new global system.

Antifa demonstrations erupted in many countries, not just the U.S., and their colors are the same red and black we keep seeing linked to the beast system. The branding itself says “anti-fascist,” and we are trained to think the opposite of fascism is communism. That connects neatly with McLean’s lyric: “And while Lennon read a book on Marx.” The rebellion of the “Rebels” is being turned toward a Marxist-style street uprising, still under the authority of the same dark ruler.

The timestamp matters too. This frame sits at 2:01.

  • 201 = 3 × 67
  • Three of something often marks it as firmly established.
  • 67 is another 6 vs 7 marker: 6 (man) against 7 (God).

So the 2:01 mark quietly says: the rebellion of man against God (6 vs 7) has been fixed and set. The “Rebels” now march in a pattern that serves the same powers they think they are resisting.

New World Order Reset

Later (around 3:52), we see the same group again. This time a rainbow-like overlay runs down their uniforms and their raised arms block the word “Rebels.”

The message is simple: the same “rebels” have been repainted. The rainbow overlay and blocked text picture a shift:

  • from patriotic resistance to serving a new global order,
  • from “we will not bow” to “we are happy to dance for the system.”

The people who still think of themselves as freedom-loving rebels have been rebranded as cheerleaders for the New World Order.

The Final Stage – Dehumanization

At 3:19, the cheerleaders appear a a far more disturbing form.

They are no longer upright, smiling “Rebels.” Instead they are crouched on all fours, as if bowing or waiting for a command.

In the following cropped close-up, one girl in particular looks less like a person and more like a dog. Where her head should be, the distortion forms a dog-like shape with what looks like a red collar around the neck:

For me, this is not just a strange visual effect. It is a picture of what the beast system wants to do to human beings: take people who once stood upright as image-bearers of God and reduce them to obedient, animal-like subjects. The girls who began as bright, patriotic “Rebels” have been spiritually bent down and blurred into something beastly, depraved—no longer free, no longer truly human, but performing on command for the very system that has captured them.

Jesus warns that those who cling to rebellion and falsehood will end up outside the city of God:

“Outside are the dogs and sorcerers and the sexually immoral and murderers and idolaters, and everyone who loves and practices falsehood” (Revelation 22:15).

In other words, the depraved “dog” condition is the end of a road people choose, loving and practicing lies until those lies reshape them. They cooperate with the antichrist system’s lie, and in the end they lose their freedom, their dignity, and their souls. But that fate is not forced on anyone. In the McLean video we will see the contrasting path: what happens to those who refuse the beast and become faithful to Christ.

The Cheerleader / Football Flow – Four Stages

Putting the football and cheerleader imagery together, the simple code looks like this:

  • Stage 1 – True freedom and right order: #7 leads the team; “Rebels” are tied to the American founding, law, and real resistance to tyranny.
  • Stage 2 – Hijacked rebellion: at 2:01, puzzle-piece shapes and red/black Antifa echoes show rebellion redirected into controlled street movements and Marxist-style activism (201 = 3 × 67, the rebellion of man against God set in place).
  • Stage 3 – New World Order compliance: rainbow overlays and blocked “Rebels” text show those same patriots rebranded as servants of a global system.
  • Stage 4 – Beast-like subjects: animal-headed cheerleaders picture the final result—people spiritually conformed to the beast, no longer bearing the visible image of God.

This is the end of the arc we have been tracing: from patriotic resistance, to controlled “rebellion,” to a New World Order rebrand, and finally to dehumanized, beast-like subservience—the real result of the 6-over-7 lie, where the promised ascent of man to “godhood” ends not in glory, but in the loss of both human dignity and freedom.

The Sacred Store and the Gatekeeper

At 2:27 the lyrics say:

“Well, I went down to the sacred store
Where I’d heard the music years before…”

The “sacred store” is a gun shop: a man and woman standing in front of the U.S. flag with rifles and handguns laid out on the counter.

It symbolizes the right to bear arms—what many Americans treat as a sacred foundation of their freedom under the Second Amendment. They lyrics continue “but the man there said the music wouldn’t play”, hints that constitutional freedom has been silenced and Americans are no longer able to stand up to tyranny.

At 2:30, the scene shifts to a laundromat. A shirtless man leans on a row of industrial washers, with U.S. flags hanging in the background and there is a 13 under the circular door he is leaning on.

This scene was brighter in original version of the video, and these important details are easier to see:


They are still there in the current version, but are difficult to see because they have been darkened out.

This is not just any man. If you compare the faces carefully, he is the same jester figure from 1:01—now older and without the Baphomet costume. He stands in front of the discarded flags, physically blocking the way to them. Our access to liberty is cut off.

Americans have been “taken to the cleaners.”

There is a dark blotch around his navel—he has been born of spiritual darkness—the same anti-Christ / jester figure, now revealed without disguise.

Under the circular door he leans on is the number 13, making that door look like a spiritual gateway stamped with 13. It connects with what I call the “13th tribe,” Dan, which is missing from the list of tribes in Revelation 7. I explain this more fully in my Black Friday (by Steely Dan) article, but the short version is this: Jacob prophesies that “Dan shall be a serpent in the way, a horned serpent by the path, that bites the horse’s heels so that his rider falls backward” (Genesis 49:17). Revelation 17 shows the same pattern when the beast turns on the harlot who rides it and throws her off. The serpent tribe brings down the rider.

Reinforcing this view, he has several tattoos; one over his heart looks like a coiled or curved figure, suggestive of a serpent over the heart—the horned serpent of Dan, not a shepherd’s heart.

Furthermore, when a ruler takes off shirt, it symbolically means he intends to stay in power or come back to power by force. Both Putin and the man that has declared himself to be the antichrist (who we will cover in different posts) have taken off his shirt to pose for a photo opt for public consumption. When the man that has declared himself the antichrist revealed this image, he referred to Putin’s similar photo opt to point viewers to the meaning.

So in this laundromat scene, the jester:

  • Blocks the discarded flags (freedom cut off),
  • Leans on a round door marked 13 (Dan’s serpent gate),
  • Bears serpent-like ink over his heart (a serpent-hearted ruler),
  • Is marked by a dark navel (born out of spiritual darkness),
  • Is shirtless (indicating he intends to come to power by force, not by law or election).

Earlier in the video, at about 2:16, we are shown a different kind of “navel sign.” A young woman lifts her shirt to reveal her belly. Around her navel, in a circle, are the words “I love you.” She stands between two other people, echoing the three-figure framing at 1:01.

Again, the focus is on the navel—a place of birth and connection—another human “portal” between two “pillars.” In my understanding, she represents Lady Liberty / America. Where the jester’s navel is a dark stain in the laundromat, hers is ringed with “I love you.” America is being pictured as loving the very spiritual darkness that is about to destroy her.

Taken together, these scenes say a lot in a very short span of time:

  • The sacred store of American freedom is reduced to a gun shop whose song is about to be silenced.
  • The jester / anti-Christ figure reappears as a shirtless gatekeeper, serpent-hearted, born of darkness, blocking the path to the discarded flags and leaning on a “13” doorway.
  • Lady Liberty is shown earlier as embracing that darkness at her own spiritual center, “loving” what the dark navel in the laundromat reveals.

The message, as I read it, is blunt: Americans have been taken to the cleaners. The old freedoms are quietly being removed, the gate to true liberty is closing, and a serpent-hearted ruler from the line of rebellion stands at the door—while the nation itself says “I love you” to the darkness that is leading her out of the sacred store and into judgment.

The Church Bells All Were Broken

At 2:51, when Madonna sings “the church bells all were broken,” she does it with a triumphant, joyful tone. The scene is upbeat, arms raised, flag behind her.

When Don McLean sings the same line in his own performances, his tone is mournful. In at least one early performance you can see tears in his eyes as he sings; the whole moment feels like grief, not victory.

In Madonna’s version, “…the church bells all were broken, the three men I admire most, Father, Son and Holy Ghost, took the last train for the coast the day the music died” lands like an accomplished goal—the end of Christianity’s influence in America, celebrated on stage.

In McLean’s, it sounds like a funeral tolling. That contrast matters. It marks the difference between someone celebrating the new order and someone who, at least at the time of writing, felt the weight of what was being shown to him.

The Final Flag – 101 and “66”

Madonna recorded more than one video for American Pie. In one version, the final scene includes an explosion and a bright flash of light.

It is hard to pin down a serpent because it keeps slithering away from the truth. This video has done the same thing. Years ago, after the flash faded, there was one extra beat where the American flag was replaced for a split second by another image. That beat is now gone.

The replacement image has a “101” structure. The central “0” is shaped so that it appears to have six sides on the outside and six sides on the inside—a hidden “66” associated with the “0.” You can see that in the screen shot of the earlier version the runtime was about a second longer (4:36, 4:35 of the current version), which fits with this final frame being removed.

If you compare the length of the video, to the video at the URL now, you will see in the video used to be one second longer, evidence that this scene was cut out.

Here again we see the 101 gate with a “66” hidden inside it. Sixty-six is 11 × 6 and is commonly used in Illuminati symbolism to represent rebellion or a change of government. D-Day was on June 6 (6/6), and in Star Wars, Order 66 causes the clones to change allegiance and destroy the guardians of the old Republic, the Jedi. It also shows up in the Gotthard Tunnel opening ceremony and is a symbol of the “Ring of Six” ritual—honoring six Egyptian gods, the parting of the astral veil, and the resurrection of Osiris. I plan to cover the Gotthard Tunnel ceremony in a future post.

So this closing sequence shows the U.S. flag flashing out and a 101/66 gateway flashing in: the old nation taken down, a beast-system government taking its place, and the anti-Christ rising from what Scripture describes as a mortal head wound:

And I saw one of his heads as it were wounded to death; and his deadly wound was healed: and all the world wondered after the beast. (Revelation 13:3)

I am convinced that healed wound is the moment of consummation of a man with the spirit of Satan—the point where the man finally becomes the antichrist in full.

Why Madonna’s Version Matters

Madonna’s American Pie is shorter than the original and lacks much of McLean’s lyrical complexity. But symbolically, it is not simple at all. It introduces, in plain sight:

  • The jester/Baphomet gateway at 1:01 (the 101 marker in red and black, framed by three “spirits”).
  • The demon “birth” at 1:59 (the 159 marker), later echoed in the She-Guardian statue in London.
  • The football sequence spelling out 6 vs 7 in plain sight—man rising over God, tied to the wider 6×7 / 42 pattern we see elsewhere.
  • The cheerleaders’ arc: clean-cut patriotic “Rebels” → Antifa-coded controlled opposition at 2:01 → rainbow-washed servants of a new order → dehumanized, almost animal-like subjects on all fours.
  • The “sacred store” recast as a gun shop—American freedoms (especially the right to bear arms) quietly put under glass.
  • The laundromat jester as an older, shirtless gatekeeper: a darkened navel, serpent-like tattoos, leaning on a “13” doorway and standing in front of discarded flags, paired with Lady Liberty’s “I love you” navel—America loving the darkness that will judge her.
  • The final 101/66 flag: the old banner flashing out, a beast-system gateway flashing in, hinting at a change of government and the rise of the anti-Christ after his “healed” wound.

If Part 1 laid the foundation by listening to what Don McLean has now admitted and by looking at the deleted verse, Part 2 gives us the basic “alphabet” of the symbolism: numbers (101, 159, 6 vs 7, 13, 66), colors (red, black, rainbow), roles (jester, rebels, gatekeeper), and key images (birth, portals, flags, beasts).

In Part 3, we will return to McLean’s own American Pie video and walk through it in detail—scene by scene—to decode the core Illuminati numbering behind it and to see how the same code appears there: the rise of a particular jester figure, a manipulated civil conflict, and the crushing of those who will not bow to the new order. Part 4 will then gather those decoded symbols into a plain narrative of what they say about America’s future.

American Pie by Don McLean

Rome Burning and the Fall of America

Part 1 – Setting the Stage

“American Pie” has been argued about for more than fifty years. People have called it a riddle, a nostalgic scrapbook of the ’60s, or just a clever tribute to Buddy Holly. Don McLean himself stayed mostly quiet, letting the speculation swirl.

But in the last decade, the mask has slipped. In interviews, McLean has finally admitted that American Pie is not just a story about music—it is a story about a civilization in decline, Rome burning in American clothing. And when you put his own words together with the official music videos and a “deleted” verse, the picture becomes much clearer—and much darker.

I do not believe American Pie was just clever cultural commentary. I believe God showed Don McLean something real about the end of America, and that the “deleted verse” with its precise five-year marker is evidence of that. At some point, McLean sold the rights to the song and was required to compromise that verse and was not allowed to tell the meaning, but the warning remained—and the lyrics and videos still carry a message far deeper than entertainment.

In my understanding, the specific five-year timing is not something Satan would be able to see directly; it reinforces that this is a real warning, not just a human guess, even if the vessel later sold out.

Personal note: Years ago I emailed Don McLean’s agent with my analysis of how it points to the fall of the United States and the rise of an anti-Christ system. Shortly after that email, all uploads of this iconic song disappeared from the internet for roughly three months. I cannot prove those two events were directly connected, but the timing felt like a shock reaction—panic while someone checked with higher-ups about how to respond. My sense was that the pattern had been seen and taken seriously. I have often wondered if McLean himself may even have felt a kind of relief that at least one listener finally understood what had been given to him, and I still hope to reach out to him again someday. (Don, if by chance you read this, your remedy is in Numbers 30:3 — 3-3, the remedy for Freemasons. The spiritual gender of the Church is a woman, the daughter of the Father and the betrothed of the Son.)

What Don McLean Has Now Admitted

Back in 2015, when McLean auctioned the original lyrics, people expected a great unveiling. Instead, his explanation was vague: life is becoming “less idyllic,” American Pie is “a morality song,” and “things are heading in the wrong direction.” That was it—just enough to confirm that the song is about moral drift, but not enough to pin anything down.

Then came two interviews in 2019 where he said more.

In the first of those interviews, McLean explains that when he wrote American Pie he “came up with this notion that politics and music flow parallel together forward through history.” The music, he says, is tied to what is happening politically, and “the verses get more dire each time until you get to the end.” The “good old boys” are politicians, always present, “singing ‘bye bye Miss American Pie’ almost like they are fiddling while Rome is burning.” Then he underlines the point: “All roads lead to Rome.”

In some of his early performances, you can see how heartfelt this was for him—he sometimes wept while singing the song, and his delivery of the lines “the church bells all were broken” is always mournful, not triumphant (in contrast to Madonna’s version).

He may not say the sentence, “This is about the end of America,” but that is exactly what he describes. Rome burned. Rome fell. America is walking the same road.

In the second interview, McLean adds two critical pieces:

  • He says the song arrived in one piece as he sat with his guitar, “like a genie out of a bottle.”
  • He insists that he has always been extremely careful with his words—he wrote exactly what he wanted to say.

He also jokes that Bob Dylan would make a great “jester,” if Dylan were the jester—which, he implies, he is not. That implies the jester in the song is not a random artistic figure, but a real, specific man tied to politics in our time.

Put simply:

  • The theme is admitted: America following Rome into judgment.
  • The precision is admitted: every word chosen carefully.
  • The political focus is admitted: real politicians are in view, including a real “jester.”

That is the foundation this series will stand on.

The “Deleted” Verse – Hints of Judgment and Redemption

There is also a “deleted verse” that did not make the final cut of the song. Its key lines speak of McLean dropping to his knees, promising God everything he could give “if only He would make the music live,” and God promising it would live again—“but this time one would equal four,” and that “in five years four had come to mourn” and “the music was reborn.”

It reads like someone wrestling with God over much more than a music career.

My interpretation is this:

“One would equal four” – In the album version, McLean ends by naming “the three men I admire most – the Father, Son and Holy Ghost.” In the rebirth, one person will be joined to all Three, making four. Each redeemed person will be united with Father, Son, and Holy Spirit.

“Four had come to mourn” – After devastation, a handful (individuals each now joined to the Three) return to the land in mourning. For me, this resonates with the picture in Revelation 18: people who have obeyed Christ’s call to “come out of her, my people” may someday return to a broken homeland, not as citizens of a proud empire, but as mourners ready for a new beginning. I hope I will be among them.

I believe the five years is the time between the first judgment of the U.S., as Babylon the Great of Revelation 18, and the return of Jesus. I am not setting dates, but if this understanding is correct, it is a major prophecy of our time. Scripture says no one knows the day or hour (Matthew 24:36), yet also that God does nothing without revealing it to His servants the prophets (Amos 3:7), and Daniel and Revelation give specific counts of months and days. So I expect God to make the exact timing clear as we enter the final years, and this five-year marker could be one piece of that revelation given to Don McLean.

God’s Warnings

The lyrics and videos of American Pie carry a level of precision, numerology, and prophetic accuracy that goes far beyond nostalgia for the 1960s. I believe this message:

  • Announces the coming fall of the United States,
  • Signals the rise of a particular “jester” / anti-Christ figure,
  • Hints at a staged conflict between leaders (which I understand as the Trump vs. Obama struggle), and
  • Previews the kind of civil unrest and riots we are already beginning to see.

These are consistent with his stated theme (Rome burning), with the deleted verse (judgment and redemption), and with the imagery and timing markers embedded throughout both the Madonna video and his own, even though the true meaning has largely been withheld and dismissed for decades.

Outline of Four-Part Series

Because this is such a large work, I intend to cover it in four parts:

Part 1 – Setting the Stage (this article)
In this article I sketch the big-picture view and set the context for understanding the lyrics and the symbolism in the videos.

Part 2 – Madonna’s “American Pie”: The Simple Code
I begin with the Madonna video because its symbolism is simpler and more obvious, pointing directly to the destruction of the U.S. and the rise of the anti-Christ.

Part 3 – Don McLean’s “American Pie”: The Deep Decode
McLean’s video carries deeper symbolism and, as far as I know, is the earliest video to decode key Illuminati numbers, so Part 3 will focus on that numerical symbolism as a strong base for understanding later media.

Part 4 – What This Says About America’s Future
In this final part we will gather the threads—lyrics, videos, numbers, McLean’s words—to tell the story of the coming collapse of the U.S., the season of conflict, camps, and Satanic sacrifice of Christians, and to show why you might want to take seriously Jesus’ warning to “come out of her, my people” (Revelation 18:4).

Summary

This first part has simply laid the groundwork:

  • Don McLean has confirmed that American Pie is about the U.S. heading toward collapse, like Rome burning, and that its words are carefully chosen and tied to politics.
  • A deleted verse hints at redemption after judgment where “one would equal four.”

In Part 2, we will step into Madonna’s video and start learning the “alphabet” of this symbolism—numbers, colors, timing marks, and images that the Illuminati use over and over.

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:

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.

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.

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.

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.)

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.

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.

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.

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.”

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.