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Having created a satanic ritual for the Olympic Games opening ceremony, artistic director Thomas Jolly ended as he had begun. The closing ceremony, writes Winston Smith, was a homage to lucifer.
Jolly wanted to “share a strong message and offer spectators a truly immersive collective journey: a journey into the past, to the origins of the Games, but also into the future, and ultimately to a timeless universe” during the closing ceremony.
It was in his vision of the future and a timeless universe that the Golden Voyager appeared. As Variety described it: “The stadium plunged into a post-apocalyptic atmosphere as the lights switched off and the futuristic set lit up intermittently. As was explained during the broadcast, Jolly envisioned a dystopian future where the Olympic Games had disappeared, only to be reborn when a Golden Voyager visits.”
It wasn’t only the Olympic Games that had disappeared. Jolly envisioned a grim future where no humans existed and the Golden Voyager landed on a dark, desolate, formless mass devoid of any life.
Some reported that the eerie character was, according to the creators, inspired by several references from France’s historical heritage, starting with the Spirit of the Bastille. No specifics regarding the several references from French heritage have been given. The only specific mentioned is the Spirit of the Bastille, which is also called ‘Génie de la Liberté’ or ‘Génie de la Bastille’, a bronze gilded statue cast in 1836 by Auguste Dumont. This allegorical statue represents liberty and surmounts the July Column, located in the centre of the Place de la Bastille in Paris.
Jolly’s closing ceremony in no way represented liberty or the Spirit of the Bastille, apart from the bronze/gold colour. The Golden Voyager looks like a golden skeleton with insect antennae protruding from its skull and shredded wings on its back.
Others reported the Golden Voyager was inspired by the Voyager’s Golden Record, a gold-plated copper record containing sounds and images of human life, sent into space by France in 1977.
The golden figure of death very obviously doesn’t represent the Spirit of the Bastille nor the Voyager’s Golden Record, even with a great deal of imagination.
If you’re still none the wiser about what actually inspired Jolly to create the Golden Voyager landing on a barren mass that was once the Earth teeming with life, you’re not alone. However, in the following, Winston Smith offers his explanation.
Olympics Closing Homage to Lucifer
By Winston Smith,
You’d think that after the opening ceremony the French Olympic committee would be thinking they’d have to clean things up a bit so as to not deliberately offend normal people (and in particular, Christians) – and do something related to … I don’t know … Sport?
But no. They have to double down with their luciferian narrative – as if the realms of darkness can’t help but boast about where they are in their agenda to subvert the world.
But of course, the mainstream is out in force ridiculing anyone who’s pointing out this obvious truth. I reckon they could have performed a child sacrifice at the closing and still say “No! Nothing to do with satanic rituals!” – it’s getting that blatant.
If you haven’t seen it (and don’t bother if you haven’t) the closing ceremony was full of dark imagery suggesting the opening of a portal overseen by a hoard of demonic beings1 and Lucifer himself2. Some suggest the portal was about conjuring ancient Greek gods, but dig deep enough and you’ll find they are all the same thing – fallen angels.
And this portal theme … is this a reference to the release of the Watchers who have been bound up in the earth since the days of Noah?
Who are the Watchers?
In the first part of 1 Enoch (The Book of the Watchers), the Watchers (עִירִין, iyrin) are angels sent to Earth by God to oversee humanity. However, they soon departed from their heavenly mandate and developed lustful desires for human women, and under the influence of their leader, Samyaza, they rebel by imparting forbidden knowledge to humans and interbreeding with them, descending on a mountain known as Hermon (basically a demonic staging post on the Earth). The hybrid children of these unions are the Nephilim, fierce giants who wreak havoc and threaten humanity (it’s said that the disembodied spirits of dead Nephilim are what we’d call demons).
Samyaza and his followers taught humans various arts and technologies, including weapon-making, cosmetics, mirrors, sorcery, and other skills – some helpful, most evil, and no doubt all the while setting the Watchers up as “god” over their subjects (not quite God’s intention). Eventually, God decides to cleanse the planet of the Nephilim with a Great Flood but first sends Uriel to warn Noah, ensuring the survival of the human (unadulterated, non-hybrid) race3. The Watchers are then bound “in the valleys of the Earth” (Enoch describes a place under the desert, Dudael דּוּדָאֵ4, enclosed with “sharp rocks”) until Judgment Day. Jude verse 6 also references this: “And the angels who did not keep their proper domain, but left their own abode, He has reserved in everlasting chains under darkness for the judgment of the great day.”
What about portals?
Could the principalities and powers (and the psyche of those under their influence), be anticipating the release of these fallen ones in the “day of judgment” (which may be a short period, not a literal 24 hours)? In Revelation 9:1 a “star fallen from heaven” is given the key to the bottomless pit5 and opens up this portal for demonic powers6 to come up and upon the Earth.
Lucifer and his cohort probably don’t see this “prison break” in the same way as God does (i.e. a tool of judgement), but maybe they are looking forward to it as an opportunity to dominate more completely – who knows what’s in the mind of such a twisted being! Whatever it is, it’s not good.
What we see being displayed at these big events, these prophetic utterances of the god of the air, reveal something of the real agenda, the big picture, of what’s playing out on the earth. We can get caught up by the details of transgenderism, immigration, technocracy, etc, and miss the overarching theme – lucifer’s plan to be god and king over all the Earth and to hell with everyone (quite literally). All those other details are important, and we need to stand against such ungodliness, but our primary war is with the principalities and powers that lord it over the people of the world – the real puppet masters, if you will. Let’s not be glorifying them by supporting their stage shows!
Notes:
- 1 Looking rather like alien “greys” – surprise, surprise.
- 2 The creator of the main figure may truly believe it represents the gold disk that was sent into space (the Golden Voyager), but I don’t buy it – it just looks demonic and placed it in the context of the demon figures with the portal (which they will say is the space disk also), then it paints a very dark satanic picture. This is from the creative energy of a nation that has virtually no Christianity so can be forgiven for being totally in the dark when it comes to Satan’s manipulation of their every move.
- 3 There were fallen angel incursions after the flood as well and Nephilim/giant figures (“mighty men of old”) who probably inspired a lot of the Greek mythology. One of the mandates for Israel going into the promised land was to kill all the hybrids – thus the extermination of everyone in certain cities where the hybrids flourished.
- דּוּדָאֵל 4 the cauldron of God.
- 5 φρέαρ – a well, a hole in the ground for water or holding other things, and is figuratively used to describe the pit of the abyss (because the nether world is thought to increase in size the further it extends from the surface of the earth and so resemble a cistern, the orifice of which is narrow).
- 6 Revelation is full of metaphor and figurative language – the demonic power that’s released is unlikely to be seen as actual locusts with faces of men and crowns on their heads (maybe in the unseen realm, but probably not in the physical). Rather it speaks of a devastating force that has been granted authority for a time.
Source: https://expose-news.com
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The Thomas Jolly types have destroyed the genre of theatre and opera, making them woke propaganda and/or satanic orgies in which the director seeks to realize his/her own sick and twisted interpretation, rather than staging the play in its original place, time, atmosphere and message.
They blatantly dishonor the authors and their legacy, and they also belittle the audience, which shows the downward spiral of culture and civilization in general.
Exactly as predicted in the writings of the Elders of Zion.
I had to look into the creator of this years olympic shows. From his page: Thomas Jolly…
A child of the theatre, Thomas Jolly made his entrance in Avignon with his adaptation of Henry VI. Well-known for his theatrical series in the Ceccano garden about the history of the Festival for its 70th edition, he has gone from a rising star to an ambitious and popular director in under a decade. His approach to great texts (Shakespeare, Seneca) focuses on the figure of the monster and on the difficulty of representing what cannot be represented, with shows that are extreme both in terms of form and duration.
With his company, La Piccola Familia, he sees theatre as a political art and always strives to explore History to question what's at the core of people and, beyond that, of their organisations.