Tag: bible-prophecy

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.

“How Bizarre” by OMC

Clowns, a Ringmaster, and Nuclear Fire

If you feel the world is getting stranger by the minute, you are not alone. I don’t think many people could have imagined the world we live in today, ten years ago.

Across the world, something feels off. We watch governments in completely different cultures roll out the same policies at the same time, often against the clear will of their own people. Unelected “experts” and global bodies have somehow become the official purveyors of truth. Election after election, nations cry out for one direction and get leaders who do the opposite. Instead of pursuing truth that could bring unity and peace, our institutions seem to specialize in narratives that divide. The systems that were supposed to protect us look broken, and the news can no longer tell a story straight. It is more than just bizarre now; it is getting scary.

The Bible says, “The coming of the lawless one is by the activity of Satan with all power and false signs and wonders” (2 Thessalonians 2:9), and also that “the whole world lies in the power of the evil one” (1 John 5:19). In other words, there are real spiritual powers behind what we see. They do not only push policies and laws; they also know how to speak to us directly—through films, music videos, news narratives (including staged events), public ceremonies and rituals, the symbols they scatter across our world, and very often through popular music.

I believe some songs are literally messages from the future, passed down through spiritual powers who can see what lies ahead and who share it with their servants. Those servants then encode it in lyrics, videos, and symbolism that are “hidden in plain sight.”

One of those songs, I believe, is “How Bizarre” by OMC.

In this article I simply walk through the evidence so you can decide for yourself.

The World in a Chevy ’69

We will get to the video messages later. First we will cover the lyrics. The video we will work from is here: https://www.youtube.com/watch?v=C2cMG33mWVY

At first glance, the song is just a quirky story: driving in a car, police lights, strange scenes, and the repeated chorus, “How bizarre.” But when you look at the phrases together, it starts to read like a parable of our political circus.

Here is how I understand some of the key lines.

“Red-blue lights flash”

This is not just about police. Red and blue are the colors of the two major political camps or controlled opposing powers—a Hegelian dialectic. The sirens of crisis, outrage, and “emergency” are always flashing. Both sides use them to keep their followers in a constant state of alarm, to manufacture conflict, and then to justify the ultimately designed outcome: a major change, a “new solution.”

“Chevy ’69”

In occult symbolism, 69 is often associated with inversion (swapping good and evil) and the “devil’s number.” The picture here is of a car—society, the system, or the coming ruler—powered by that dark source. The officer tells them to “step out onto the line” – to do what ordinary people are supposed to do: follow orders and stay inside the rules of authority. “Pele preaches words of comfort” – a soothing, virtue-signaling narrative to make it all sound reasonable. But because they are riding in the devil’s vehicle, they are waved through. Those who serve the system are not harassed; they are carried by it. The rules are for everyone else.

“Destination unknown”

After the officer waves them on, the lyric says “destination unknown.” But the way he sings it, it sounds more like “destination un-no-one”—a stuttered double negative that hints at something darker: a destination where no one is left. It fits Satan’s nature and the prophetic picture of the end, where the path the world is on does not lead to a stable new order, but toward the attempt to erase whole populations:

“And if those days had not been cut short, no human being would be saved.” (Matthew 24:22, ESV)

In that light, “destination unknown” sounds less like being lost on a road trip and more like a coded pointer to where this whole circus is actually headed.

“A freshly pasted poster reveals a smile from the past”

This speaks of a familiar smiling political figure from the past being brought back to center stage. It points to the anti-Christ figure the Bible describes as one who “was, and is not, and is about to rise from the Abyss” (Revelation 17:8, ESV), a ruler who seems gone but then returns.

Revelation goes on to say of this same figure: “they are also seven kings… As for the beast that was and is not, it is an eighth but it belongs to the seven” (Revelation 17:10–11, ESV, excerpt). In other words, he first appears as one of the rulers of the seventh “Babylon” system, and then becomes the king of an eighth and final world order before the return of Jesus.

In that light, the “smile from the past” is more than nostalgia. It is a poster announcing the return of a leader the world already knows—one who will step back onto the stage with far more power the second time.

“Elephants and acrobats, lions, snakes, monkeys…”

Our leaders and institutions are portrayed as circus acts: elephants (Republicans), acrobats (talking heads who promote manipulative narratives with verbal gymnastics), lions (devouring opponents with accusations), snakes (deception and lies), and monkeys (imbeciles put in power who create chaos because they don’t understand what they are doing)—a whole menagerie of circus performers. It is not dignified government; it is confusion, chaos, and a path to destruction.

Does this resonate with you? Do you see why the world feels so bizarre? You are not imagining it.

“Ringmaster steps out”

The ringmaster is the one who truly controls the show, calling each act in and out. This line points to the rise of the final world ruler, the anti-Christ, finally stepping openly into view after working behind the scenes.

“The elephants left town”

The elephants leaving town represent the elimination of the Republican/Trump side of the conflict—not just losing an election, but being cleared off the field. This line points to the day when that camp is neutralized: their leaders sidelined or jailed, and many of their followers sent into internment and re-education camps, or eliminated entirely.

“People jump and jive / The clowns have stuck around”

The remaining population rejoices. The “threat” is gone, and people dance in the streets. But the clowns—corrupt politicians and their handlers—are still very much in charge. The circus act continues, just under one side’s colors instead of two.

“TV news and cameras, there’s choppers in the sky / Marines, police…”

This is not a quiet transfer of power. It is a major event, broadcast worldwide, involving military and police forces. It points to a civil conflict or crackdown where one side is crushed in the name of “restoring order” and conformance to “reason” dictated by so-called recognized or anointed authorities.

“Making moves and starting grooves before they knew we were gone”

Later he sings, “making moves and starting grooves before they knew we were gone.” But the way it’s delivered, it also sounds like “before the New World dawn”—as if the planners are already setting things in motion. By the time people wake up, many of those who resisted have already been removed or marginalized, and the New World Order is already in place. It matches the prophetic picture of the first horse of the apocalypse, which goes out “conquering, and to conquer” before the red horse of war that removes peace from the earth (Revelation 6:1–4).

“Jumped into the Chevy and headed for big lights”

Once the opposition—conservatives, constitutionalists, and Christians—has been cleared out of the U.S.-led world order, the anti-Christ simply keeps driving the same devil-powered vehicle toward the “big lights”: global power and open world leadership.

“Wanna know the rest? Hey, buy the rights”

The writers are telling us, “There is more to this story.” The rest is for those who truly want to know—who are willing to “pay the price,” one way or another. Scripture tells us the rest: a dark night, great deception, and then the coming of the Bright Morning Star.

“How bizarre, how bizarre”

The chorus is our response. We look around at politics, wars, social chaos, and say, “How bizarre.” What we are really seeing, though, is a carefully written script moving toward a planned outcome.

Illuminati Fingerprints in the Official Video

If all of this were just my imagination, the official video would be random. It is not.

The video is loaded with specific symbols that line up with the message I’ve just outlined.

One line keeps looping in the chorus: “Every time I look around… it’s in my face.” On the surface, it sounds vague, but to me it means that the symbolism that tells us what is coming is everywhere, built into ads, ceremonies, buildings, movies, and music videos. For those with eyes to see, it really is “in your face” all the time—part of the mockery is that most people look straight at it and still cannot see what they are being told.

“Keep Left” sign at 0:06

At 0:06 into the video, there is a “Keep Left” sign in the background. The anti-Christ will try to force you to the political left – the voice of conformance to reason moderated by the appointed authorities. If you don’t want to go to the internment camps with conservatives, constitutionalists and Christians, keep left. It also hints at where the anti-Christ figure comes from—he comes from the left, not the right.

Moloch at 1:53

At 1:53 into the video we get our first clear Illuminati mark: a brief shot of a mask shaped like an owl, representing Moloch, the ancient god associated with child sacrifice.

For generations, the global elites have used owl-Moloch imagery as a badge of who they serve—from the old street layout around key buildings in Washington, D.C., to modern rituals such as Bohemian Grove.

The pattern hasn’t changed; it continues right up to the present day.

The number 153 is 17 times 9 and the 17th triangular number and 9th hexagonal number: https://en.wikipedia.org/wiki/153_(number)

The number 17 is a number the Illuminati use frequently because it mirrors the beast of Revelation: “a beast… having seven heads and ten horns, and upon his horns ten crowns” (Revelation 13:1; see also Revelation 17:3, 7, 9–12).

The number 9 points to the nine “Babylon” phases of Satan’s rule over mankind—from the first Babylon at the tower of Babel (Genesis 11:1–9), through “Babylon the great” (the 7th, Revelation 17–18), then the 8th kingdom ruled by the beast “that was and is not… an eighth but… belongs to the seven” (Revelation 17:11), and finally the last rebellion of Gog and Magog after the thousand-year reign (Ezekiel 38–39; Revelation 20:7–8).

In that light, 153 functions a numeric signature: a way for Satan and the Illuminati to celebrate the full span of his kingdoms over the whole history of mankind.

The number 153 itself appears in John’s Gospel. After Jesus rose from the dead and met His disciples on the shore, they hauled in a miraculous catch:

“So Simon Peter went aboard and hauled the net ashore, full of large fish, 153 of them.” (John 21:11, ESV)

From God’s perspective, that catch hints at a great harvest of souls drawn out of all the “Babylon” systems of the beast—men and women rescued from every phase of Satan’s counterfeit kingdoms.

The Fire-Breathing Clown at 2:39

At 2:39 into the video, we see a performer blasting a huge jet of fire out over the water in a scene drenched in orange and gold.

The timestamp matters. 2:39 → 239.

Plutonium-239 is the primary fissile material used in modern nuclear weapons. So at the exact moment we see a clown breathing fire, the clock quietly spells out the nuclear number.

The number 239 is heavily used in Illuminati symbolism. In my article “Marks & Spencer Xmas Advert Exposed,” I walk through another example where “23 September” (23-9) is used as a visual marker, tying together nuclear fire imagery, a firm public nuclear threat by North Korea on a September 23 and the contemporaneous occurrence of the Revelation 12:1-2 great sign in the heavens. I am not setting dates. The point is that 239 is a heavily used numeric mark in their language—and it points to destruction through nuclear war.

In the How Bizarre video, the primary meaning is plain: the circus that brings the rise of the anti-Christ system, does so through the use of nuclear blasts. The clown breathing flame at 2:39 is a picture of nuclear blasts driven by plutonium-239.

“It’s in my face” – and then nothing but fire

The last words of the song are: “It’s in my face.” On that line, the video flashes a close-up of the masked performer, lit by orange firelight. Then, in the final seconds, the fire rushes toward his face and the image is completely washed out in white-hot flame. He is gone. All that remains on the screen is fire.

The message is not subtle. The masked man represents the warmongers and puppets of Satan—those who help bring nuclear destruction to the world. The same fire they unleash on others ultimately consumes them too. The show ends the way it has been hinting all along: in blinding, devouring fire.

A Pop Song That Predicts the End

Taken together, the lyrics and visuals tell one coherent story.

It describes the journey of the anti-Christ, coming from the political left, standing outside the law, orchestrating a global circus act of schemers, actors, and puppets to bring the U.S. to destruction. He removes the political right—conservatives, constitutionalists, and Christians—and then, through more war and nuclear fire, rises to become the leader of the world, until the same destruction turns back even on those who helped create it.

Scripture says of the end-times:
The sky vanished like a scroll that is being rolled up, and every mountain and island was removed from its place. 15 Then the kings of the earth and the great ones and the generals and the rich and the powerful, and everyone, slave and free, hid themselves in the caves and among the rocks of the mountains, 16 calling to the mountains and rocks, “Fall on us and hide us from the face of him who is seated on the throne, and from the wrath of the Lamb, 17 for the great day of their wrath has come, and who can stand?” (Revelation 6:14-17)

Jesus also warned, “Put your sword back into its place. For all who take the sword will perish by the sword” (Matthew 26:52).

The video, in its own coded way, pictures the same truth: this road leads to fire, and those who live by that fire will not escape it.

In the end, the only safe place is not on the left or the right, but out of the circus altogether—out of Babylon and in honest relationship with the One who tells us the truth. If you sense Him knocking, do not wait; open the door, listen to His voice, and walk with Him now, while there is still time.

Featured

Welcome – Introduction
This is the best place to understand the focus this blog.

Food from God’s Word: Real food that you’re unlikely to hear in church or Christian media.

The Marriage Supper of the Lamb – Part 1: Eating His Word in This Present Age
The Marriage Supper of the Lamb – Part 2: Drinking the Cup: Receiving the Holy Spirit
The Marriage Supper of the Lamb – Part 3: Bearing Offspring: The Righteous Deeds of the Bride
God’s Signature in Scripture – Part 1: Tracing God’s Fingerprint in Genesis 46 and Numbers 7

Illuminati Messaging: Dark forces bend the institutions of power and tell us our future in plain sight. Warning: Once you see, you cannot unsee. Do you have the heart of a lion to look?

Marks & Spencer Xmas Advert Exposed: Illuminati Symbolism Reveals World War III
American Pie by Don McLean – Part 1: Rome Burning and the Fall of America
American Pie by Don McLean – Part 2: Madonna’s “American Pie”: The Simple Code
American Pie by Don McLean – Part 3: Don McLean’s “American Pie”: The Deep Decode

Messages in the Music: Feel-good mumbo-jumbo—or precise messages about our future?

“Stairway to Heaven” by Led Zeppelin: A Prophetic Warning to the West
“How Bizarre“ by OMC: Clowns, a Ringmaster, and Nuclear Fire
“Black Friday” by Steely Dan: A Prophetic Warning of Financial Judgment
“Riders on the Storm” by The Doors: A Love Song to War and a Mocking Gospel

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.

Stairway to Heaven

A Prophetic Warning to the West

Synopsis: This article reads “Stairway to Heaven” by Led Zeppelin as a prophetic message about the coming judgement on the West, especially the United States, and the rise of the final “piper” the Bible calls the man of lawlessness. The song’s strange images—rings of smoke, the May Queen, the piper, the bustle in the hedgerow—fit together as a warning to choose the narrow road now, to listen to the Holy Spirit rather than follow the music of Satan.

Music, Prophecy, and the Spirit Behind the Song

Many popular songs are not just entertainment. They are messages.

For this article, I focus on Led Zeppelin’s “Stairway to Heaven,” especially a live performance where Robert Plant inserts spontaneous comments that quietly underline the message: “Yes, indeed” after the line about misgiven thoughts, “Do you remember laughter? … Priceless” after the forests echo with laughter, and “Please don’t roll, people” after the warning to be a rock and not to roll. You can hear that version here: https://www.youtube.com/watch?v=Ly6ZhQVnVow. These lines don’t appear in the printed lyrics, but they show that Plant understands and affirms the tension and sadness carried inside this song.

The Bible tells us that there is a spiritual power behind much of what moves culture. Satan was adorned with beauty and music from the beginning:

“Thou hast been in Eden the garden of God… the workmanship of thy tabrets and of thy pipes was prepared in thee in the day that thou wast created.” (Ezekiel 28:13, KJV)

In other words, musical instruments were “built into” him. It should not surprise us if he uses music as one of his main channels. Many in the music industry have openly admitted they “sold their souls” for fame and wealth. Satan speaks through those who have yielded themselves to him.

I believe Stairway to Heaven is one of those songs. It is one of many that quietly announce what is coming: the sword, fire, and judgement on the West, especially the United States, and the preparation for the final world ruler—the “piper.”

What follows is my reading of the song as a kind of parable. You can dismiss it as coincidence if you want. But if you really walk through the images, verse by verse, the pieces line up too well to ignore.

The Lady Who Is Sure All That Glitters Is Gold

“There’s a lady who’s sure all that glitters is gold
And she’s buying a stairway to Heaven”

The “lady” is the system that believes everything valuable is measured in gold, power, and control. I believe this is the United States as the end-time harlot power that rides the beast in Revelation 18—wealthy, proud, and confident that money can buy anything, even spiritual security.

“When she gets there she knows, if the stores are all closed
With a word she can get what she came for”

If the normal channels (the “stores”) will not cooperate, she still expects to get what she wants “with a word.” That is how the U.S. has acted for decades: if a foreign government does not submit to its agenda, there can be regime changes, covert operations, or open war. She assumes access, always.

“There’s a sign on the wall, but she wants to be sure
‘Cause you know sometimes words have two meanings”

The warnings are there. The “sign on the wall” is clear. But she prefers to doubt them. She hides behind ambiguity – “words have two meanings” – so she can do what she wants without facing what God is really saying.

“In a tree by the brook, there’s a songbird who sings
Sometimes all of our thoughts are misgiven”

Deep down, she knows something is off. “Thoughts misgiven” hints at conviction and uneasiness. In the live performance, Plant quietly adds, “Yes, indeed,” as if agreeing with that hidden conviction. The songbird by the brook suggests a quieter voice—conscience, or the Holy Spirit—singing something different from the loud, glittering promises of power.

Rings of Smoke and a Spirit Crying to Leave the West

“There’s a feeling I get when I look to the West
And my spirit is crying for leaving”

“West” points very clearly to the U.S. and the Western system. There is a spiritual urge to leave, to come out. This matches the repeated warnings in Scripture where God calls His people out of a doomed system so they are not destroyed with it.

“In my thoughts I have seen rings of smoke through the trees
And the voices of those who stand looking”

“Rings of smoke through the trees” is the image of nuclear detonations—the mushroom clouds rising over crowds (“trees” often symbolize people in biblical language). The “voices of those who stand looking” are not calm observers; they are the cries and screams of people watching destruction they never thought would happen.

The sword is coming to the U.S. The imagery is already in our songs.

The Piper and the New Day

“And it’s whispered that soon if we all call the tune
Then the piper will lead us to reason
And a new day will dawn for those who stand long
And the forests will echo with laughter”

The “piper” is the anti-Christ—a man Satan will empower to step into chaos with a false solution. The world will be told that if we all “call the tune” (agree with the program, repeat the slogans, accept the new system), he will lead us to “reason.”

This “reason” will come packaged in expert voices: scientists, policy makers, tech leaders, even AI. These figures will be presented as neutral and rational, but they will actually be selling a spiritual lie: salvation through a central, controlled, godless order.

The song promises that “a new day will dawn for those who stand long”. It will be easy to go along with the new system, and hard to stand against it, but those who endure to the end of this age will see the true dawn—the Bright Morning Star after the long night, and real joy and laughter on the other side of judgment. In the live version, right after “the forests will echo with laughter,” Plant turns to the crowd and asks, “Do you remember laughter? … Priceless,” as if touching a memory that has nearly been lost.

The true new day belongs to Jesus, the Bright Morning Star, not to the piper. The real “forests echoing with laughter” will come when the world is restored to relationship with God, not when it kneels to a global regime that claims to lead us to “reason.”

“Bustle in Your Hedgerow”: War and Blood Sprinkling

“If there’s a bustle in your hedgerow, don’t be alarmed now
It’s just a spring clean for the May Queen”

A “bustle” is commotion or conflict. A “hedgerow” is a boundary or border. In plain terms: if there is war at your borders, do not be alarmed—it is just a cleaning.

Here the phrase “spring clean” is important. When sung, it sounds very close to “sprinkling.” I believe that’s not an accident. In Scripture and in occult practice, sprinkling is connected to blood and sacrifice—either the true sprinkling of Christ’s blood or its satanic counterfeit.

The “May Queen” points to the Beltane/May Day cycle—fertility and fire rituals that historically include symbolic or literal blood sacrifice. In occult systems, these rituals are believed to open spiritual gateways.

Putting this together:

  • Bustle in your hedgerow → conflict and war.
  • Spring clean / sprinkling → ritual blood shedding.
  • For the May Queen → for the benefit of the ruling occult power.

In this reading, the wars and upheavals are not random. They are sacrifices—blood sprinkled on the ground “for the May Queen,” which, spiritually, is Satan. Through these crises, a gateway is prepared for Satan to fully empower the anti-Christ, to enter and rule through him.

This is not peace-keeping. It is ritual preparation.

Two Paths, One Lie About Time

“Yes, there are two paths you can go by, but in the long run
There’s still time to change the road you’re on”

Jesus spoke of two roads: one broad and crowded, leading to destruction, and one narrow and difficult, leading to life. The song acknowledges that “there are two paths,” but then introduces a deadly comfort: “there’s still time.”

That is exactly how Satan talks. He knows people feel conviction, so he says, “Later. You do not need to change your path right now. Keep pushing that conviction aside so you can enjoy the road you’re on now. There will be time later to settle things with God.”

That delay is one of his most effective traps.

The Head That Hums and the Piper’s Call

“Your head is humming, and it won’t go, in case you don’t know
The piper’s calling you to join him”

The noise of our age—news, crises, fear, endless distraction—makes our heads “hum.” This confusion is not neutral. It is designed. The piper is using chaos to call people into alignment with his system, to make his “solution” feel like the only way out.

“Dear lady, can you hear the wind blow? And did you know
Your stairway lies on the whispering wind?”

Here, the “wind” is a picture of the Holy Spirit. The true stairway does not lie in buying, controlling, manipulating, or building systems to reach Heaven. It is in listening to the whispering wind of God’s Spirit, who always points to Jesus and the cross, not to human power.

The Spirit is asking: Can you hear Me over the humming? Will you follow Me instead of the piper?

The Rock That Does Not Roll

“And as we wind on down the road
Our shadows taller than our soul”

As time goes on, the shadow of death grows longer over every person and every nation. We sense the reaper coming. Our physical lives, our nations, our empires are fading.

“There walks a lady we all know
Who shines white light and wants to show
How everything still turns to gold”

This is not the same lady from the opening. The first woman tries to buy Heaven with gold and power. Here we see something different: a “lady we all know” who shines with white light and wants to show “how everything still turns to gold.” I believe this points to the true Bride of Christ — a people refined through tribulation, whose hearts are turned into real gold in God’s fire, so that they become light in the darkness, not buyers in a corrupt system. I have seen the same pattern in a lot of Illuminati symbolism: Satan sees and marvels at the Bride’s beauty and purity, and he longs for a union with her to defile her — think of the story told in “You’re Beautiful” by James Blunt.

“And if you listen very hard
The tune will come to you at last
When all are one, and one is all”

Here the focus shifts back to the quiet voice behind the noise. The “tune” that comes if you listen very hard is not the piper’s propaganda, but the softer melody of the songbird and the wind — the Holy Spirit. If we will press through the humming and distraction, we begin to hear a different call.

In biblical terms, “all are one, and one is all” points toward the oneness Jesus prayed for in John 17: that we would be in Him, and He in us, and so be truly one with one another — the beginning of real peace on earth, rooted in loving God and loving our neighbor as ourselves. That is very different from a forced, global “oneness” that erases truth.

The piper will offer his own counterfeit unity, but buried inside this song is a better invitation: to listen past his music until we hear the Spirit’s tune, and to choose oneness with Christ first — and then, through Him, real unity with others.

“To be a rock and not to roll”

This line is critical.

To “be a rock and not to roll” is to stand firm, to refuse to be moved by the pressure to conform, even when the whole world is swept into the piper’s tune. In the live performance, Plant adds, “Please don’t roll, people,” turning the line into a direct plea to his listeners. Jesus is the true Rock. Those who stand on Him will not be rolled by fear, propaganda, or persecution.

So… Am I Imagining This?

You might say, “You are reading way too much into a rock song.” If so, consider these questions:

  • If this song is only about greed and vague spirituality, who is the May Queen and why does she need a “spring clean” (sprinkling) in the middle of a “bustle in your hedgerow” (conflict at the border)?
  • What do rings of smoke rising through the trees and the voices of those watching have to do with a woman who believes all that glitters is gold?
  • Why does the singer’s spirit cry to leave the West? Why specifically the West?
  • What does war at the hedge have to do with a woman trying to buy Heaven?
  • Who exactly is the piper who wants to lead us to “reason”?
  • Why does the song end with the stark warning “to be a rock and not to roll”?

The pieces fit together too well to be random. The future is known. The message is clear:

“… the whole world lies in the power of the evil one.” (1 John 5:19)

Satan’s fingerprints are on our culture, our systems, and yes, our music. But that is not the end of the story.

A new day will dawn. The Rock that does not roll will return. The forests will echo with laughter again—those who listened to the whispering wind, left the wide road, and stood long on Christ.

Now is the time to choose which tune you will follow, and which stairway you will trust.

The Marriage Supper of the Lamb (Part 1)

Eating His Word in This Present Age

If there is one theme that has pressed most on my heart in these days, it would be this: the Marriage Supper of the Lamb is not a distant event in heaven – it is an invitation right now. And that invitation is not abstract. It is very concrete: will you feed on the Word of God as your daily food, in love and obedience to Jesus?

When Jesus restored Peter after his denial, He did not ask Peter, “Are you ready for ministry?” or “Will you build a big church?” He asked one question three times: “Do you love Me?” And each time, He tied Peter’s love directly to feeding and tending His lambs and His sheep.

If we say we love God, that love must express itself in very real ways:

  • We love God by listening to Him.
  • We love God by receiving what He speaks.
  • We love God by feeding on His Word and then feeding others.

This is why I have come to see the Marriage Supper of the Lamb as one of the most important messages for this hour. It is about how we love God with all our heart, soul, and mind, and how we will stand in the time of testing that is ahead.

“You shall love the Lord your God with all your heart and with all your soul and with all your mind. This is the great and first commandment.”
– Matthew 22:37–38

Whatever we call “most important” in this article must be rooted in these two great commandments: love for God and love for one another. Everything that follows is meant to serve that love.

Marriage vs the Marriage Supper

In an ordinary wedding, we all understand the difference:

  • Many guests attend the wedding supper.
  • But only the bride actually goes into the marriage chamber with the groom.

The supper and the marriage are related, but they are not the same event. One is a public celebration; the other is a private union.

I believe Scripture treats the Marriage Supper of the Lamb and the marriage itself in this same way:

  • The marriage supper is the season in which we are now invited to come, sit, and eat what God sets before us.
  • The marriage—the final union, the unveiling of the Bride—takes place at the end of this age, when the dead in Christ are raised and we are given new and perfect hearts: the consummation of God’s own heart and Spirit with ours, so that we perfectly reflect His love and character.

In this first article, I want to focus on the supper: what it is, what we are eating, and why so many refuse the invitation.

The Parable of the Great Banquet: An Invitation Ignored

Jesus gives us a picture of this in the parable of the great banquet:

“16 But he said to him, “A man once gave a great banquet and invited many. 17 And at the time for the banquet he sent his servant to say to those who had been invited, ‘Come, for everything is now ready.’ 18 But they all alike began to make excuses. The first said to him, ‘I have bought a field, and I must go out and see it. Please have me excused.’ 19 And another said, ‘I have bought five yoke of oxen, and I go to examine them. Please have me excused.’ 20 And another said, ‘I have married a wife, and therefore I cannot come.’ 21 So the servant came and reported these things to his master. Then the master of the house became angry and said to his servant, ‘Go out quickly to the streets and lanes of the city, and bring in the poor and crippled and blind and lame.’ 22 And the servant said, ‘Sir, what you commanded has been done, and still there is room.’ 23 And the master said to the servant, ‘Go out to the highways and hedges and compel people to come in, that my house may be filled. 24 For I tell you, none of those men who were invited shall taste my banquet.’”
– Luke 14:16–24

Notice a few things:

  • The banquet is ready now – “Come, for everything is now ready.”
  • Those first invited are not atheists. They are not shaking their fist at God. They are simply busy. Their hearts are bound up with land, work, possessions, family.
  • The master still wants a full house. If some will not come, he will fill his house with others.

Now ask a simple question:
If this parable were about a sudden rapture to a wedding banquet in heaven, who would say no? Who would reply, “I just bought some land,” or “I just got married – I can’t come”?

No one would.

This parable makes sense when you see the banquet as here and now. There is a real table set in front of us in this age. We have real excuses in this age. We are being invited now to the Marriage Supper of the Lamb.

The question is not, “Will you want to go to heaven one day?” The question is, “Will you come to the table today?”

What Is on the Table?

If the marriage supper is here now, the next question is:

What exactly are we eating?

Jesus answers that directly:

“So Jesus said to them, “Truly, truly, I say to you, unless you eat the flesh of the Son of Man and drink his blood, you have no life in you.”
– John 6:53

And a few verses later:

“Whoever feeds on my flesh and drinks my blood has eternal life, and I will raise him up on the last day. For my flesh is true food, and my blood is true drink. Whoever feeds on my flesh and drinks my blood abides in me, and I in him. As the living Father sent me, and I live because of the Father, so whoever feeds on me, he also will live because of me. This is the bread that came down from heaven, not like the bread the fathers ate, and died. Whoever feeds on this bread will live forever.”
– John 6:54–58

Jesus connects this directly to the manna God gave Israel in the wilderness:

“And he humbled you and let you hunger and fed you with manna, which you did not know, nor did your fathers know, that he might make you know that man does not live by bread alone, but man lives by every word that comes from the mouth of the Lord.”
– Deuteronomy 8:3

And when Satan tempted Him in the wilderness, Jesus answered with this same verse:

“It is written, “‘Man shall not live by bread alone,
but by every word that comes from the mouth of God.’”
– Matthew 4:4

Scripture itself ties these threads together:

  • The manna in the wilderness was a picture – a cast and shadow – of Jesus Himself, the true bread from heaven.
  • Jesus is called “the Word”:

“And the Word became flesh and dwelt among us, and we have seen his glory, glory as of the only Son from the Father, full of grace and truth.”
– John 1:14

So when Jesus says, “Whoever feeds on my flesh…”, He is not inviting us to some strange ritual. He is telling us plainly:

Jesus is telling us that real life is found in feeding on the Word of God as our true food, just as Israel fed on manna every day.

The Marriage Supper of the Lamb is, at its core, this:

Sitting down daily with the Word of God – the pure, unleavened Scripture – and receiving it into your heart in faith.

That is what it means to “eat His flesh.”

Contempt for Manna and the First Falling Away

Israel was required to gather manna every day (except the Sabbath). At first, they marveled at it. But over time, they grew tired and began to despise it:

“For there is no food and no water, and we loathe this worthless food.”
– Numbers 21:5b

When they called the manna “worthless food,” the Lord sent fiery serpents among them, and many died (Numbers 21:5–6).

Today, many treat large parts of Scripture – especially the Old Testament – as “worthless food.” Some even speak as if it were optional or outdated. Others simply do not bother to open their Bible at all, except occasionally.

In John 6, after Jesus spoke about eating His flesh and drinking His blood, something remarkable happens:

“After this many of his disciples turned back and no longer walked with him.”
– John 6:66

It’s striking that the first great falling away did not happen when Jesus was doing miracles. It happened when His words became offensive and too hard to accept. When the “food” He offered was no longer to people’s taste, they walked away.

It has always struck me that this hard saying lands at John 6:66. I personally see in that a foreshadowing of the great falling away that will accompany the rise of the beast and his mark at the end of this age.

It’s easy for us today to say we are following Christ, while quietly refusing to eat His flesh and drink His blood in the way He means. It’s easy to accept blessings and promises, but not the offense of the cross, not the daily discipline of opening the Word, and not the correction and reproof His words bring.

When the time of tribulation comes and the cost of following Christ becomes severe, those who have not been eating at the marriage supper – who have not been feeding on Jesus through His Word – will find themselves weak and starving spiritually.

“11 Behold, the days are coming,” declares the Lord God,
    “when I will send a famine on the land—
not a famine of bread, nor a thirst for water,
    but of hearing the words of the Lord.
12 They shall wander from sea to sea,
    and from north to east;
they shall run to and fro, to seek the word of the Lord,
    but they shall not find it.
13 “In that day the lovely virgins and the young men
    shall faint for thirst.
14 Those who swear by the Guilt of Samaria,
    and say, ‘As your god lives, O Dan,’
and, ‘As the Way of Beersheba lives,’
    they shall fall, and never rise again.”
– Amos 8

Listening as an Act of Love

We often talk about loving God in emotional terms, but Jesus ties love to very concrete actions:

  • “If you love Me, you will keep My commandments.”
  • “If you love Me, feed My lambs… tend My sheep… feed My sheep.”

Listening to our Heavenly Father is an act of love and respect. When you pick up your Bible each day and open your heart, you are saying to God:

“Father, Your words matter to me very much.
I am here to listen, to understand, and to please because I love You.”

You are also loving your neighbor, even though they are not in the room, because:

  • We cannot feed lambs if we ourselves are starving.
  • We cannot tend sheep with truth if our own heart is empty of truth.
  • We cannot help others stand in the time of deception if we are not rooted in the Word ourselves.

Coming to the table of the Marriage Supper of the Lamb, day after day, is one of the most real ways you can fulfill the two great commandments:

  1. Love the Lord your God – by listening, believing, and obeying His Word.
  2. Love your neighbor as yourself – by becoming someone who can feed and strengthen others with that same Word.

How to Come to the Table Each Day

This first article would be incomplete if it only spoke in theory. The invitation is practical. Here is a simple pattern you can follow.

You do not need to copy my way exactly, but I will share what I try to do.

Come through the sacrifice

I begin by remembering that I only come to God through the blood of Jesus. I do not come as a good man who had a good week. I come as one who has been washed and forgiven.

A simple prayer might be:

“Father, I come to You only by the blood of Your Son.
Thank You for His sacrifice.
Cleanse my heart and my conscience as I draw near.”

Come with a real heart, not a performance

I try to come honestly:

  • If I am tired, I tell Him I am tired.
  • If I am anxious, I confess my anxiety.
  • If I am dull, I ask for mercy and awakening.
  • If I am struggling with temptation, I admit my weakness and invite Him to change me.

The point is not to put on a show for God, but to be honest and transparent and open your heart to Him.

Open the Word and expect Him to speak

I then open my Bible and read – not as a religious duty to “get through” a chapter, but as a hungry man sitting at a table.

A few practical helps:

  • Let God set the menu: over time, give equal attention to all parts of Scripture, not only your favorite passages.
  • When a verse cuts you, do not run away. Stay with it.
  • When something is hard to understand, do not shrug and move on. Ask: “Father, I do not understand this. Please teach me by Your Holy Spirit.”

Sometimes the understanding comes quickly; sometimes it takes days or even years. The important thing is to hold the question in your heart until He gives you the understanding.

Let the Word change you

If we are truly eating the flesh of Jesus, His Word will not simply confirm everything we already think. It will change us. Often that means being challenged, humbled, and called to realign our thinking and obey. That is a sign that the Word is alive in us.

Share what you are eating

Finally, when the Word really begins to feed us, it changes our everyday focus and how we interact with others. We realize how important God’s life-giving words are in a world marked by spiritual darkness and find ourselves wanting to share what He has shown us. We listen, we pray inwardly for discernment, we test for an opening with a sentence or two, and if there is an open door, we speak up.

In this way, what we receive at the Marriage Supper moves naturally from His heart into ours and then out toward others.

The kingdom of heaven is like leaven that a woman took and hid in three measures of flour, till it was all leavened. -Matt 13:33 (ESV)

A Preview of What Comes Next

In this first part, we have focused on “eating His flesh” – receiving the Word of God as our daily food in this present age. The Marriage Supper of the Lamb is not a theory; it is the daily choice to come to the table, open the Scriptures, and let God speak to our mind and heart.

In Part 2 – Drinking His Blood, we will look at how the Holy Spirit makes this Word alive in us: the difference between letter and Spirit, the picture of water turned to wine, the table of the Presence and the lampstand, grain with oil and without it, and the ten virgins who either carry oil or find themselves shut out.

In Part 3 – The Bride’s Offspring, we will turn to the marriage itself and its fruit: the Bride’s fine linen as righteous deeds, cross-bearing and the Bridegroom of blood, the soil of our hearts, the parable of the sower, and how the Bride is washed by the Word and brings forth offspring for the Bridegroom.

For now, the question remains very near: are we actually coming to the table today?

The invitation is on the table.
Come and eat.

Welcome – Introduction

Morning comes—but also night. (Isa 21:11–12)

Do you have the heart of a lion?
If you only want comfort without truth, you will not like it here. If something in you would rather face reality than live in a lie, then stay. You are the one I am writing for.

This site is called “The Heart of a Lion” for three reasons.

First, it is for readers who want a lion’s heart. Not bravado, not bluster, but courage: courage to see what is coming, to love truth more than safety, and to live by that truth, no matter the cost.

Second, my given name—Leonard—means lion-hearted. I am sharing what is in my heart for your benefit. Most people want to hope the dark night away, to escape what is coming on this world. By God’s grace I am trying to face it without flinching—or at least not let my fear cloud my vision. I read the Bible daily; I am prayerfully reading it for the ninth time. It is very alive to me. I will share understandings you will never hear from a church pulpit but which I believe will resonate with honest hearts. In no way do I expect you to simply trust my word or my interpretations. I am only a servant—an imperfect vessel. Measure anything I write against your own heart and against Scripture.

Third, and most important, my aim is to share the heart of Jesus Christ, the Lion of Judah, as Scripture truly reveals Him. I do not paint Jesus as a vague “nice guy in the sky” who only says soft things in heaven. I see Him as Scripture names Him in the hard images and the gentle ones: the Bridegroom of Blood (Exod 4:25–26), the firstborn bull with horns like a wild ox who gores the peoples (Deut 33:17, a blessing on Joseph that I believe foreshadows Christ’s strength), the One who treads the winepress (Isa 63:1–3; Rev 19:11–16), who opens the seals of judgment (Rev 5–6), who calls the religious leaders of His day a brood of vipers (Matt 23:33); and also the jealous Husband who demands faithfulness and fruit (Exod 34:14; Hos 2:16–20; John 15:1–8), the One whose flesh and blood are true food and drink (John 6:53–56), whose yoke is easy and whose burden is light (Matt 11:28–30), the Prince of Peace (Isa 9:6) and the source of love (Isa 9:6; 1 John 4:7–10). He is coming. The Day of the LORD will be terrible for His enemies and healing for His own. Night is approaching; fear, lies, and tribulation will multiply. Are you ready?

After night comes morning. Jesus calls Himself the Bright Morning Star (Rev 22:16). Scripture says He will return as He ascended and His feet will stand on the Mount of Olives (Acts 1:11–12; Zech 14:4). That hope fixes my direction: to prepare people for darkness without surrendering the certainty of dawn.

This is not a religious site. Religion crucified Jesus, and the institutions that trade on His name today are not immune from corruption. This is a site about faith—about reality as God names it, not as men package it. My starting point is simple: I hold that the Bible is the Word of God, that Jesus Christ is the Word made flesh, and that a dark night is coming before His return (John 1:1,14; Rev 19:13; Matt 24).

God has allowed me to understand certain things—through Scripture, through what is hidden in plain sight all around us, and at times in ways I can only call supernatural. He has also given me something just as important: the ability to show what I see so that you do not have to rely on my word alone. If you will look honestly, and if you are not ruled by fear, you can verify what I present. You do not need to be a Bible believer to benefit from the parts of this work that analyze the symbols and signals saturating our culture. They are not subtle and I explain them plainly.

How did the world get to the place we are at today? The pattern was set in Eden. Humanity chose the fruit of knowledge apart from right relationship with God. We have knowledge now—technology that can unmake the world given to us—while hearts remain far from Him (Gen 3). Our governments show it: rules written as if wisdom could save us, administered by rulers who serve themselves. The prophets described this. One of the saddest images in Scripture shows Pharaoh (Satan) in Sheol taking comfort in the multitude of those slain on the earth by the sword (Ezek 32). This is where the path of pride, power, and greed leads.

Jesus said we cannot serve God and Mammon (Matt 6:24). Choose a master; you cannot keep both. If God has assigned you a purpose, He will supply what you need to accomplish it. You do not need to be anxious about money while walking in His purpose. He is like a GPS: if you miss a turn, He re-routes; both the journey and the destination are His, not yours. Whoever clings to his life will lose it, but whoever loses his life for His sake will find it (Matt 16:24–25).

This site has several lanes:

Food from God’s Word. Real food from Scripture that you are unlikely to hear in church or Christian media. We will go deep into hard passages and core themes to bring the Word of God truly alive.

Symbolism in Plain Sight. Illuminati messaging and other spiritual signals hiding in plain sight—exposed in depth, in plain language.

Messages in the Music. Looking again at the lyrics of songs that shape culture. Are they harmless, feel-good mood, or precise messaging about our future?

All of this is intended to help you prepare, to stand firm, and to help others when the night comes upon us.

A brief word about me so you know where I am coming from. I am an engineer; in 1985 I designed the first GPS chip and appear on related patents. I build high-performance math code and run a small site in the fantasy sports space. I have lived and worked across the world, including years in Ukraine. When the Maidan events and the change of government came in 2014, my firsthand experience told me my own government’s narrative was false; it did not want peace grounded in truth. That realization set me on a path of investigation and prayer. I concluded then that we were on the road to a global war. Returning to Scripture—daily, with fasting at times—clarified what I was seeing and whom I must serve.

What I ask of you is simple: open your heart to God. (I am not asking for your money. I am not building an organization.) My focus is to watch, to warn, to share what I see, and to help you navigate the dark night that is coming, on the way to the Bright Morning. This site will sometimes feel like taking the red pill (in the movie The Matrix); once you see, you cannot unsee. If you are willing to ask, to look, and to live for something larger than yourself—even larger than mortality—then welcome. You are in the right place.

You may discover that what you thought was “religion” is a counterfeit; that the churches you trusted have been shaped by myths rather than sound teaching (Ezek 34; Jer 23; 2 Tim 4:3–4); that the whole world lies under the power of the evil one (1 John 5:19). Do not let that drive you to despair. Let it drive you into a deeper trust, faith, and right relationship with God. The path back is not complicated: inquire, return, and come. Night is coming, but morning also. When the Lion of Judah roars, may you recognize His voice.

If you want to follow along, subscribe to the newsletter. Share what helps others stand. Test what I write. And above all, seek the One who is truth.