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The closing ceremony of the Olympic Games in Paris heralded the coming of the Antichrist and the subjugation of Christianity and Earth, Romanian conspiracy mongers claim.
Ultra-religious bias and its sense of observation
NEWS: In order to avoid being accused they attack Christianity, the Satanists behind the gay director Thomas Jolly have presented the “show” in the allegorical wrapping of an “alien invasion”. Whereas a weak-minded Westerner might just as well buy that story, a man of faith will be able to see straight through it. Any living Orthodox knows, as Saint Cleopa the Witness-Bearer of Sihăstria Monastery also points out, that aliens are less “extraterrestrials” and more “intraterrestrials”, i.e. demons coming from hell to do their bidding on Earth. The satanic rampage in Paris leaves little room for interpretation. We therefore outline a brief description of the satanic scenario symbolically represented at the 33rd edition of the Olympic Games, accompanied by the explanations in photo captions, sent to us by our rather perceptive reader. The occult message the closing ceremony of the Olympic Games seeks to convey is quite easy to decipher for a man of faith. We’ve added the full list of explanations below as well as accompanying each photo:
Seen from above, the Earth is already in the claws of the horned demon (opening photo).
The Antichrist comes down to earth from heaven for the whole world to bear witness, just as Christ ascended to Heaven.
To form a reverse “holy trinity”, the Antichrist is joined by the two characters from the opening show identified as the Nameless One (the Unseen, the Hidden One, with his face fully covered) and the fourth Horseman of the Apocalypse, a bionic/transhuman cyborg, astride a pale, also bionic horse, symbolizing Death.
The Nameless One and the Death Knight/Cyborg bring the Antichrist a flag - here the satanic directors take advantage of the fact that the Olympics was first hosted in Greece and thus use the Greek flag, which depicts the Cross as its central element. Greece represents a predominantly Orthodox country, the homeland of the Holy Mount Athos, the Garden of the Mother of God.
The two offer him the flag/Cross and the Antichrist clowns around until he assumes the posture of Baphomet.
The Antichrist takes the Cross and hits the ground hard with it, after which the Earth is engulfed in darkness.
Victory will be his, the classic statue emerging from mist and smoke seems to say.
Fallen angels who worship the Antichrist also make their appearance.
“Aliens” overthrow man - another direct reference to a well-known work of Leonardo da Vinci, just like the opening ceremony, with the twice mocked Last Supper. It is the Vitruvian Man, putting the “perfect” man at the center of the universe. Da Vinci's Vitruvian Man is turned upside down, in the form of a pentagram, another satanic symbol.
Four of the five circles of the Olympic sign arise in the black sky, yet in the form of a Möbius strip or double infinity, two parallel, unseen Universes.
And then the fifth element arises, the fifth circle that connects them, raised from the hands of the demons in the form of a clock, at the same time indicating all four cardinal points: “The hour has arrived. All across the Planet”.
In the middle of the Earth the crowd of demons lift the triumphant Antichrist.
At his mark, hell descends on Earth.
Then, utter darkness. The future satanists desired.
Let it not be!”
NARRATIVE: The closing ceremony of the 2024 Olympic Games contained several satanic symbols heralding the coming of the Antichrist that will destroy Christianity.
The Olympic Games and Satanism
WHY THE NARRATIVE IS FALSE: The show put on by the organizers of the closing ceremony for this year's Paris Olympics was indeed steeped in symbolism, but it had nothing to do with the Satanism invoked by the article under review. The Golden Voyager that the Orthodox Christian vigilante claims to be the Antichrist is but an embodiment of several French historical symbols, the most important of which is the Spirit of the Bastille. Also called “Génie de la Bastille”, it is represented by a gilded bronze statue made in 1836 by sculptor Auguste Dumont. It represents Liberty and the struggle of the French people against dictatorship, which culminated with the French Revolution of 1789, and all the large-scale social movements that followed. The statue is placed at the top of the “July Column” located in the Place de la Bastille in Paris.
At the same time, the name “The Golden Voyager” is a direct reference to the “Voyager Golden Disc”, launched into space in 1977 by the Voyager space shuttle. This disc made of gold is a “time capsule” launched by humanity into interstellar space, containing recordings of greetings in several languages from human civilization. The disc was made in France.
The theme surrounding the entire stage setting of the ceremony is not “Earth in the claws of the horned demon”, but a mysterious, forsaken land where the Olympics are never held. Thus, the idea behind the dystopian scenario envisaged by the director Thomas Jolly is the disappearance of the Olympic Games, followed by their revival, symbolized by the meeting of the Golden Messenger with Nike, the goddess of Victory in Greek mythology, one of the deities who presided over the Olympic Games in antiquity. It is Nike’s statute that actually “emerges from mist and smoke”. The original statue, “the statue of Victory of Samothrace or Nike of Samothrace”, is on display at the famous Louvre museum in Paris. On its website, the museum explains that the statue is “broken and incomplete”, with its head and arms missing: “The statue represents the goddess of Victory about to alight on a ship whose sailors have just won a sea battle. It probably dates to 190 BC and was commissioned to celebrate that victory. The winners, perhaps the inhabitants of the island of Rhodes, erected it in Samothrace to thank the Great Gods of the island, the Cabeiri, who were worshipped throughout the Greek world”. In fact, the representation of the goddess Nike is engraved on every medal awarded in Paris.
As for the two characters, “the Nameless One and the Fourth Horseman of the Apocalypse – Death”, they are merely embodiments of heroes, also inspired by French culture, from characters like Erik from the Phantom of the Opera, or the Man in the Iron Mask, the famous prisoner of Louis XIV, to Fantômas and the master of disguise, Arsène Lupin. Another source of inspiration is even a character from the video game “Assassin's Creed Unity”, released in 2014 and centered on Arno Dorian, an “assassin” fighting on the side of the French Revolution.
The entire interpretation of the show is biased to the point of ridicule, with mathematical references (the Möbius strip - in fact just a surface model with one face and one edge, devoid of any esoteric connotation), historical and artistic references (the “Vitruvian Man” drawing by Leonardo da Vinci, which, upside down or not, would still have nine “corners” instead of five), symbolic references (the author claims the flag of Greece represents the cross, when in fact it is merely the flag of Greece, the country of origin of the Olympic Games), but also some derived from SciFi culture, with aliens (or intraterrestrials) invading the planet in the name of Satan. For instance, when he “hits the ground with the cross”, the Golden Messenger does exactly the opposite, anchoring Olympism firmly into the ground, a fact that is easily inferred when the athletes who participated in the competition are invited on stage to enjoy of the “rebirth” of the Olympic spirit. In the end, the Christian-Orthodox interpretation takes on genuine hilarious overtones: when the fifth Olympic circle is raised, the author sees a clock that would symbolize the phrase “The hour has come. All across the planet”.
Overall, although the show staged by Thomas Jolly can be criticized regarding its artistic elements, it cannot be labeled a Satanic performance, except in the crooked logic of those who describe everything they see as the work of occult propaganda. As in the case of any artistic performance, anyone is free to rate the quality of the events unfolding on the stage, while the subjective interpretation of the symbolism behind the show remains the prerogative of specialists.
Christianity, the perpetual victim of the global cabal
BACKGROUND: This year's Paris Olympics brought plenty of memorable moments, but the Games also sparked plenty of controversy, right after the opening ceremony, when several contestants on a drag queen reality show appeared seated at a long table, in an image that some have associated with the famous painting “The Last Supper" by Leonardo da Vinci. While many hailed the moment as a celebration of diversity and inclusion, others took social media by storm, describing the scene as a “mockery” and “an insult to Christianity”. The extent of the criticism has prompted organizers to issue a public apology to all those who felt offended by the artistic episode, stressing that their intention was not to show disrespect towards any religious group. The show's artistic director, Thomas Jolly, said he did not take inspiration from da Vinci's famous work, nor did he want the interlude to come across as subversive, contemptuous or shocking. According to Jolly, the moment was meant to convey a message of inclusion, celebrating freedom in all its forms. Moreover, his design was to recreate a celebration related to the mythology of ancient Greece, the original country of the Olympic Games, and the central character did not parody Jesus Christ, but represented the Greek god of wine, vegetation, fruit growing, ecstasy and fertility, Dionysus. The whole scandal, however, provided conspiracy mongers with an opportunity to launch new false narratives, which continued throughout the Olympics, such as the one claiming that the South Korean giant Samsung has withdrawn its €1 billion sponsorship, dissatisfied with the promotion of the “woke agenda” by the International Olympic Committee.
The narratives generally claim that “the West is morally decadent and has strayed from Christian values”, one of the main narratives of Moscow's propaganda war against the EU and NATO, ramped up to the max following the invasion of Ukraine. Fueled by disinformation campaigns launched primarily by Russia, conspiracy theories attempt to promote the idea that there are various occult plots to turn humanity away from Christianity. Narratives along these lines can be found in conspiracy theories like PizzaGate and QAnon, in fierce opposition to biological passports (or vaccination certificates and QR codes during the Covid-19 pandemic), in fake news about the EU's ban on Christmas, as well as in populist rhetoric advocating the “traditional family”. Almost any event, no matter how insignificant, can be linked to the “persecution of Christians”, through ambiguous and allusive wording or omissions.
The European Union is presented as "Gayropa", a social construct in antithesis to the traditional, Christian, Orthodox values represented by Russia. It also promotes the idea of a so-called "LGBTQ agenda" that the West (including American Democrats) is trying to forcefully impose. Over the years, Veridica has debunked several false narratives about elements supposedly connecting schools, children and the LGBTQ community, which claimed that Romanian students are forced to watch propaganda films that promote homosexuality, and as a result of the education received in schools, they will no longer know what their sex is and what species they belong to. Also in the same vein demonizing the LGBTQ community, and borrowing narrative elements from the international conservative spectrum, public space in Romania was flooded with narratives stating that the World Health Organization seeks to mutilate children’s genitalia, or that, in the USA, Catholic Easter has become Transgender Day .
Theories of this kind obviously could not bypass Romania, a country with a deeply religious and conservative society, marked over the years by tendencies towards extremism. The last three years have been a genuine fake news fiesta, some of the narratives originating in Moscow and subsequently adapted to local specificity by opinion leaders from ultra-conservative extremist circles. In this regard, a narrative circulated in January 2023 claimed that in the UK, a woman was arrested on suspicion of silently praying. Along similar lines, about a year later, the defenders of Christianity in Romania announced that in Canada, Christians will be condemned for quoting the Bible, and a few months later, amplifying anti-Christian and anti-Semitic narratives, they claimed the Israeli government wants to ban the Christian faith.
PURPOSE: To promote homophobic, anti-Western and anti-European rhetoric, to erode trust in national authorities and international bodies, to validate self-promoted conspiracy theories, to stir and amplify social unrest.
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