Topic: Horus

Following the Babylon Working, Marjorie Cameron moved to a ranch in California to lead a magical group called "The Children" with the goal of birthing a moonchild devoted to Horus. She referred to one failed pregnancy as the "Wormwood Star," a term with apocalyptic biblical connotations. This era of Hollywood occultism also influenced films like Rosemary's Baby, directed by Roman Polanski, which mirrors themes of birthing demonic entities.

The influence of secret societies like the "Followers of Horus" is linked to the long-term management of information regarding human heritage. The Brookings Institution's recommendations are cited as the basis for a decades-long acclimation program using cultural memes like Star Trek and Star Wars. This incremental leaking of information is designed to prevent societal collapse when the truth about extraterrestrial life is revealed.

The guests detail specific anatomical correlations, such as the Eye of Horus representing the limbic system and the statue of Artemis matching the human brainstem. They argue against the "Jesus in toast" skepticism by pointing to mythological symbols that align with physiological functions, such as goddesses associated with lakes representing cerebral spinal fluid. The purification of these internal fluids is presented as a method for accessing exalted states of consciousness.

The organization SpaceX is analyzed as an occult group utilizing Egyptian mythology. Marty Leeds points out that "Space Exploration Technologies" is an anagram for Set, the Egyptian god of chaos. He further links the Falcon rocket to Horus and the Dragon capsule to the serpent Apep, suggesting that space launches are actually dark rituals performed by the elite.

The segment details the 1946 Babylon Working performed by Jack Parsons and L. Ron Hubbard, which aimed to manifest the goddess Babylon and usher in the Aeon of Horus. Weishaupt explains how these rituals were intended to destroy monotheistic constraints on sexuality and spirituality, potentially laying the groundwork for a modern "Religion of the Antichrist."

The Horus and Sun Fountain in Detroit, ostensibly dedicated to automobile pioneer Horace Dodge, contains deep Egyptian mythological references. The fountain's shape is identified as a symbolic representation of the sky goddess Nuit, the mother of Horus. Stemke argues that these structures create a "power pack" of energy at the base of the Detroit River, regardless of whether the artist's intent was conscious or subconscious.

The SpaceX Falcon 9 launch is framed as a modern manifestation of ancient phallic worship associated with the god Priapus. Knowles connects the timing of the launch to the "Twin Cities" and the discovery of an Earth-like planet in the Lyra constellation.

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.

The host reflects on the demonization of Aleister Crowley, comparing his "Antichrist" persona to the archetype of Jesus. He suggests that while Jesus represented a message of submission, Crowley championed personal responsibility and the "True Will," leading to his symbolic crucifixion in the realm of public relations. The segment explores how state and religious authorities use fear to prevent the masses from exploring paths to personal power.

The Lion King is analyzed as a retelling of the Egyptian Osirian cycle and Shakespeare's Hamlet. Mufasa represents Osiris, Scar represents Set (or Typhon), and Simba represents the solar heir, Horus. The film utilizes solar allegory, where the health of the Pride Lands is tied to the presence of the "sun" (the lion king), while the "north" represents the darkness where the sun cannot go.

The game of Quidditch is interpreted as an allegory for the quest for Gnostic enlightenment. The Golden Snitch is identified as the Egyptian winged solar disk, and Harry Potter’s pursuit of it represents the soul chasing the light of wisdom. While the other players are distracted by the "busy nonsense" of the game, the Seeker wins by achieving the ultimate goal of capturing the sun/gnosis.

The conversation explores how processional numbers like 72 and 108 appear in myths ranging from Osiris and Set to King Arthur. Mathison argues that figures like King Arthur and Saturn were originally benevolent symbols of a lost Golden Age that have since been inverted or demonized. He reiterates that using these symbols to justify harm against children or the weak is a perversion of the original ancient system.

The Edfu Building Texts, inscribed on the walls of the Temple of Horus in Upper Egypt, describe a lost island homeland of "Primeval Ones" destroyed by a cosmic serpent. These texts, copied from much older, crumbling archives, detail how survivors navigated the world to "reconstitute" their civilization by building primeval mounds as blueprints for future temples. This Egyptian narrative mirrors the Atlantis story and provides a framework for understanding the global spread of megalithic culture.

The common "OK" hand gesture, often interpreted by conspiracy theorists as "666" or the Eye of Horus, is redefined here as the sign of the Vesica Pisces. In the context of secret societies, this gesture signifies that an individual is "in the club" or within the "womb" of the organization. The researchers urge followers to look beyond internet memes and consult scholarly texts on sacred geometry.

Gordon White offers a defense of Aleister Crowley, describing him as the best magician the West has produced in centuries. He dismisses the idea that the elite are "ushering in" the Aeon of Horus, stating that such shifts occur regardless of human intent. White portrays Crowley as a complex adventurer, spy, and artist whose work operates on multiple enigmatic levels.

British occultist Aleister Crowley predicted the transition of mankind into the Aeon of Horus, a period characterized by self-realization and individual godhood. This era aligns with the Age of Aquarius, utilizing technology and global consciousness to achieve godlike status. The transition involves a multifaceted approach including Satanism and the New Age movement, with historical ties to the worship of the deity Moloch.

Ancient Egyptian symbols for the letters G and T are described as representing 180-degree semicircles. When combined, they form a 360-degree circle, referencing the geometry of Pi. Leeds argues that the Egyptians were not an "alien species" but were utilizing the same universal principles of number and geometry that underpin all human language and natural formations.

The sun is described as creating Pi in the sky when it is halved by the horizon during sunrise and sunset. The word "horizon" is derived from the Egyptian god Horus, which also gives us "hours" and "horoscope." In the Leeds cipher, both "horizon" and "morning" sum to 22, which when divided by their seven letters, yields the ratio of Pi.

Lon Milo Duquette explains the transition of "Aeons" based on shifts in human consciousness, moving from the Age of Isis (matriarchal/nature) to the Age of Osiris (paternal/sacrificial). He describes the current Aeon of Horus as being defined by the realization that the "sun stays on all the time," symbolizing eternal life and self-empowerment. He notes Crowley's 1936 prediction that an influx of solar energy would eventually replace fossil fuels and transform the planet.

The recurring theme of the absent or dead mother in Disney films is examined as a retelling of the Egyptian Osiris and Horus myth. Hanshaw notes that this "mother destruction" agenda now extends to the Star Wars and Wizard of Oz franchises under Disney ownership, serving as a form of subtle but grotesque psychological trauma for young viewers.