Topic: Grammys

The segment explores the death of Kobe Bryant as a "kick-off" ritual for the COVID-19 era. Donut points out synchronicities such as Bryant being buried in Corona Del Mar and his high school jersey number being 33. The hosts discuss the prevalence of the number 33 in the pandemic narrative, including the reported 33 adenine residues (poly-A tail) in the viral genetic code and the age of the initial Chinese whistleblower.

The hosts analyze the opening ceremony of the 2022 Commonwealth Games, which featured a massive mechanical bull and performers acting in a state of fear. Wolf interprets these public displays as "humiliation rituals" and "spell-casting" intended to hijack human creative energy for demonic pursuits. He suggests that the elite use these events to venerate dark entities that feed on collective attention.

Kobe Bryant's death on the day of the Grammy Awards is compared to the death of Whitney Houston as a high-profile event with ritualistic qualities. The crash is described as invoking the four elements—earth, fire, air, and water—due to the specific conditions of the impact and the surrounding fog.

The analysis of 2019 award shows and sporting events highlights the use of occult imagery in performances by artists like Cardi B. KJ Osborne points to corporate logos, specifically Taco Bell and Pepsi, as modern vessels for ancient symbols like the All-Seeing Eye and the Eye of Horus. These symbols are characterized as "poison" markers that indicate the satanic influence of corporate leadership.

Chris Knowles posits that the entirety of 2017 constituted a single, long ritual cycle. He references NASA's bacteria-carrying balloon experiments during the solar eclipse and Beyonce's performance at the Grammys as data points. This cycle is described as a series of major events loaded with symbolic jackpots.

The Greek god Pan is identified as the "hidden god" of the OTO, representing fertility and phallic worship. The researchers link this deity to the 2015 Grammy Awards, where AC/DC performed "Highway to Hell" while the audience wore light-up horns. Madonna’s performance as a matador surrounded by "bulls" is interpreted as a ritualistic display of the Scarlet Woman and the horned god.