The Occult Olympics

What the bizarre, deleted opening spectacle of the 2024 Paris Olympics reveals

According to some commentators, certain globally televised spectacles — music award shows, Olympic opening ceremonies — reveal the ruling elite’s occult agenda. They function as ritualized opportunities to express a bizarre philosophy and reveal aspects of an ongoing plan, which is “hiding in plain sight.” I’ve mentioned Vigilant Citizen as one project exploring the occult elements in popular culture with a conspiracy angle. VC’s essay on the Paris Olympics is worth a read.

Matthias Desmet — who gained fame during the pandemic for his research into “mass formation” — also considers the symbolism of the 2024 Paris opening ceremony. He explores how “globalist institutions use symbolism, as seen at the opening ceremony of the Olympics and the Eurovision Song Contest, to situate their essence in mockery and perversion. That is precisely the function of a ceremony of a major social event: it represents what the essence of a society is, it represents the principles that support the social system.”

Some “white occultists” like Rudolf Steiner believed that the “black occultists” (leaders of the Illuminati and Free Masons, and other secret societies) fully understand the laws of karma. They are, in a sense, compelled to make their intentions publicly known, transparent. They cannot lie about them, due to certain occult laws which they follow. In fact, they present their intentions publicly through such spectacles. For instance, the opening ceremony of the 2012 London Olympics referenced George Orwell’s 1984 and featured worship of a gigantic artificial baby by an army of nurses, as if anticipating a bleak, biotechnological future:

I do not know if there is an intentional occult intervention, but it is one way to make sense of certain things — such as the astonishingly depraved opening ceremony of the 2024 Paris Olympics on July 30. The spectacle featured a drag queen reenactment of Leonardo da Vinci’s Last Supper, sexual congress between a transgendered threesome, a naked blue man representing a kitsch Dionysus, veiled references to pedophilia, a decapitated Marie Antoinette singing heavy metal, and a pale horse and masked rider seemingly drawn from Book of Revelation.

I didn’t watch this ceremony live. I learned about it after the event. Although it was publicly broadcast to hundreds of millions of people, all videos of the opening ceremony have been removed from the Internet (if you find a secret, bootlegged copy somewhere, please send me the link or put it in the comments), after an international outcry. YouTubers who played segments of the ceremony in response videos were served with notices they had to remove it. On X, videos of the opening ceremony have been blacked out.

Now, of course, it is possible that the symbolic, occult undertones of this and other such spectacles get projected accidentally and are not intentionally designed to create any particular effect. But occult forces can, also, express themselves via archetypes that are channelled unconsciously. These spectacles may reveal forces and ideologies operating in the collective Psyche, without needing a secret cabal of evil occult masterminds.

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One powerful force in contemporary society —  dominating large swathes of the entertainment industry — perpetuates the materialist / nihilist ideology, continuing the “decoding of all values” that supports, passively, a transhumanist, globalist (New World Order/WEF) agenda. Perhaps Thomas Jolly, artistic director of the spectacle, felt the traditional French avant-garde desire to “Épater la bourgeoisie” — a cry of decadents like Arthur Rimbaud and Charles Baudelaire — and infuriate the Christian faithful. That is why he decided to have a dude on the same stage as several young children with his testicles apparently hanging out:

During a bizarre scene at the National Library, certain French books about sexuality were highlighted, including Raymond Radiguet’s 1923 Diable au Corps (Devil in the Flesh), about a married woman’s affair with a young boy:

As luck would have it, I have been reflecting on Leonardo da Vinci and the Renaissance a lot recently. I was just in Florence where I spent a day at the wonderful Uffizi Museum for the first time in decades. What struck me as I wandered the Uffizi, time-traveling from the late Middle Ages to the early Renaissance and then, finally, the high Renaissance of Boticelli, Raphael, Michelangelo and, particularly, Leonardo da Vinci, was the trajectory of intention bringing together the human and the divine. I spent quite a while studying daVinci’s Annunciation, one exquisite iteration on this theme:

Leonardo da Vinci (1452 - 1519), Annunciation (circa 1472)

The vast number of paintings on the themes of Christ’s life, from the Annunciation to the Crucifixion and Resurrection, seek to celebrate, and grapple with, this miraculous project — this momentous idea — of God choosing to take human form, descending into our blighted, material world. With the work of Da Vinci, Raphael, and their contemporaries, you feel the tremendous dignity and transformative power in this new project, which older religions didn’t possess.

As an occult force, contemporary materialism and transhumanism seeks to repudiate and reject any form of divinity, any possibility of communion between our human world and something beyond or transcendent. Nature becomes a “standing reserve” — in Heidegger’s term — to be manipulated for human aims.

I’ve been reading a polemic by an Italian feminist, Silvia Guerini, From the ‘Neutral’ Body to the Postmodern Cyborg. She critiques the movement that seeks to redefine sex as a purely cultural delineation and supports, in its most radical expression, gender transition for children. I admit I feel sympathetic to her impassioned outcry, which comes from a Leftist, but non-“woke,” position. I’ve been slowly seeking to understand the underlying issues and philosophies to this debate, to clarify my own position.