“From Utah Charlie James Kirk to Hollywood: How the Serpent Seed Encodes Chaos and Archetypes”
See my blog before this one for more detailed information and images about this decoded event.
“The Utah Event: Charles James Kirk and the Symbolic Attack on the Jacob Seed The Caucasians"
There is a master script they replay across myth, film, music, and public spectacle. It is a script of inversion: the Jesus / Messiah figure is recast as a sacrificial Cain; the adversary—Saturn/Set/Satan—is ritually bound; and a counterfeit feminine power (Isis/Eve/the Moon Goddess) is enthroned and celebrated as hero. They flip the story and teach the public to worship the wrong image.
Below I lay out that script, weave in the symbolic anchors we decoded, and show how the contemporary staging echoes ancient spells. Wherever I cite Scripture it is to underscore the archetypal language the script borrows to show how the playwrights of the age steal sacred vocabulary in order to invert it.
1) The Core Inversion: Jesus / Messiah (presented as Cain)
The ritual move is always the same: present a visible savior a public, sacrificial figure who stands for covenant, for assembly, for hope then flip the narrative so that this figure appears guilty, tarnished, or scapegoated. In the world-theater they are often called a Jesus or messiah figure in public rhetoric and imagery, while the deeper script recasts him as Cain the accursed, the false seed.
Why this works ritualistically: sacrifice clears a space. If you can make the audience accept that the covenant-figure is the offender, you can both remove the living example of covenant integrity and install a ritual that repeats the wound: the community mourns, ritualizes the loss, and is then primed to receive the next act of the play.
Symbolic markers we’ve seen in modern enactments:
Names carrying the Jacob/James line (James → Jacob) and church/assembly markers (Kirk = church).
Public assembly as altar: lectures, rallies, campus stages where a covenantal image is put on display.
Media footage and martyr framing that accelerate the sacrificial narrative.
Scripture echo (as rhetorical frame): The play borrows language of accusation and counterfeit-faith. As Revelation warns of false assemblies, so the script uses sacred words to sanctify inversion. Revelation 2:9 and 3:9 speak of the “synagogue of Satan” (phrasing that later ritualizers adopt in perverse form); and Jesus’ own words in John 8:44 are co-opted by the script to reverse identity: “You are of your father the devil” becomes a rhetorical weapon in staged inversions.
Biblical citations (for reference):
Revelation 2:9 — “I know your tribulation and your poverty (but you are rich), and the slander of those who say that they are Judahites (the real Hebrews) and are not, but are a synagogue of Satan.”
Revelation 3:9 — “Behold, I will make those of the synagogue of Satan… come and bow down before your feet.”
John 8:44 — “You are of your father the devil, and your will is to do your father’s desires.”
When the script flips the messiah into Cain, the world is taught to grieve and to accept the inversion as sacred history.
2) The Binding: Saturn / Set / Satan (ritual imprisonment)
The second act is the symbolic binding. The adversary named Set in Egyptian myth, Saturn in pagan and astrological lore, Satan in Scripture is theatrically brought low. This looks like captivity, dismissal, impeachment, or a ceremonial fall. But the fall itself is a ritual move: it publicly confirms the existence of cosmic order (someone was punished), while actually re-entrenching the power cycle.
Symbolic markers of the binding:
Saturnic coding: black clothing, clock/time imagery, Saturn iconography.
“Fall like lightning” and electrician/lightning motifs the adversary is literally and mythically associated with falling and being struck down. The script echoes Luke’s “I saw Satan fall like lightning,” while dressing the scene in modern electrical or lightning motifs (electrician aspirations, black coats, etc.).
Music and ritual timing that dramatize the fall songs about the “final show,” “breaking through the atmosphere,” and “running from the bullets” are the soundtrack to the binding. (Those lyrics function like ritual chants that cement the “fall” in public imagination.)
The binding reassures the public they have “won,” but because it is a staged, rhythmic act it becomes part of the cycle: sacrifice → binding → coronation. Saturn’s imprisonment is both a final act and the prelude to a ritualized resurrection of the counterfeit order.
3) The Coronation: Isis / Eve / The Moon Goddess (the counterfeit Queen)
After the sacrifice and the binding, the final, most seductive act unfolds: the coronation of a feminine figure as the new hero and ruler. This can be anointed as a widow’s vow to “carry on the work,” a celebrity-style elevation, or the public enthronement of a new, moon-coded savior.
Symbolic markers:
Feminine titles linked with rulership (names meaning “ruler” or “ever-powerful”), widow narratives, and public platforms.
Moon imagery: nocturnal, reflective light (the counterfeit “light” that is not the Sun).
Cultural staging: songs, visuals, and narratives that pivot audience loyalty from the fallen savior toward the newly anointed feminine ruler.
The paradox of the coronation is cruelly clever: the community is grieving a sacrificial loss (the messiah framed as Cain), it has observed the adversary’s fall, and it is emotionally primed to accept an ersatz savior who promises restoration a savior who is in fact the counterfeit Isis, a Moon Goddess who channels devotion away from covenant truth into an engineered cult of personality.
4) How the template shows up in modern signs the decoded evidence
Below are the recurring modern tokens and what they encode in the ritual script:
Names & name-codes: James → Jacob (messianic echo); Kirk → church/assembly; Tyler → gatekeeper/builder (Masonic echo); Erika → ever-powerful / ruler (feminine authority). Names are not neutral in ritual theater; they are semaphores.
Place-names: Utah (Beehive → ambrosia/hive imagery; mountain people → Meru echoes); Orem (ore/coal/brimstone → fire and Cain / sugar-Cain codes); Pine View (Tree of Life echo); Saint George (dragon slayer/camp of saints); Utah Washington (borderland stronghold / camp symbolism). Geography is used like a stage set.
Music & lyrics: Songs that speak of “bullets,” “the final show,” and “breaking through the atmosphere” are ritual soundtracks. Lyrics about “running from the bullets” rehearse avoidance of judgment and assert a mythic pattern of escape and return.
Costumes and dates: Halloween/Samhain (inversion night), political kits (Trump costume) these are ritual masks and parodies used to invert meanings and teach the public the inverted script.
Objects: Bullets = fireballs (scriptural fire/judgment imagery); lightning/electric motifs = fallen angel imagery; vehicles and tools = agency symbols (Dodge/Durango echoes).
Cultural templates: Movies, shows, and viral content copy the triad again and again until it feels archetypal to audiences. The world stage then imitates fiction film becomes rehearsal, and rehearsal becomes ritual.
5) The theological and prophetic overlay
The ritual borrows Scripture and sacred language in order to invert it. Where Scripture speaks of covenant and lineage, the script repurposes biblical phrases to sanctify a lie. The result is rhetorical theft of sacred vocabulary: they call the counterfeit righteous and the righteous wicked.
The biblical language of “synagogue of Satan” (Rev. 2:9, 3:9) is often echoed by the script as a rhetorical device: it allows the ritualizers to claim spiritual warfare while actually reversing truth.
The language “you are of your father the devil” (John 8:44) is used rhetorically inside the script to brand the sacrificial figure as the wrongdoer thereby making his sacrifice appear deserved.
Understanding this is crucial. The script does not merely borrow words; it stages theological inversion as cultural theater.
6) The succession problem continuity & continuity actors
Ritual theater rarely ends with a single performance. It installs continuity: heirs, widows, institutions, and media personalities are groomed to carry the template forward.
The widow who “carries on the work” is the canonical coronation move: grief is converted into duty and public mandate, establishing the new feminine savior.
Institutional heirs (think institutes, charities, media platforms) are the structural mechanisms that preserve the script for the next cycle.
Cultural apprentices musicians, producers, political actors are trained in the symbolic vocabulary and keep replaying the triad in new guises.
That is why the “work” rarely dies: the rites are institutionalized and encoded into story arcs that are constantly updated.
7) The moral backbone: why naming matters — and the call to nonviolence
Seeing the script is not the same as hatred. Decoding is an act of spiritual defense. When the ritual is exposed, its power to hypnotize public perception weakens.
Two necessary cautions must be explicit:
1. This is a symbolic reading, not a call to violence. Naming patterns and exposing ritual inversion protects the vulnerable and undermines the spell. It does not justify hatred, slander, or attack on any human beings. The work of the remnant is to reveal and to heal, not to strike flesh.
2. Document, don’t rage. The antidote to ritual manipulation is careful documentation, patient exposure, community protection, and nonviolent resistance. Preserve evidence, educate the faithful, and strengthen the camp of the saints through prayer, discernment, and righteous action.
8) How to watch this pattern in practice (a short checklist)
When you see an event, ask:
Is there a visible savior figure presented publicly and then framed as guilty or sacrificial?
Is there an adversary staged to fall or be bound in a spectacle?
Is a feminine figure promoted or coronated soon after, as the replacement savior?
Do names, place-names, songs, costumes, and timing repeat the archetypal markers described above?
Does the media narrative speed up the ritual cycle rather than slow it down with sober investigation?
If the answer is yes, you are likely watching the triad being rehearsed.
9) Closing: the refusal of the spell
The False Trinity depends on blindness. It depends on audiences who will not question the sequencing, who will accept the emotional logic of sacrifice → binding → coronation without mapping it to ritual history. When the pattern is seen, the ritual loses its power.
The antidote is simple and grave: name the pattern, protect the weak, and refuse to rehearse the lie. The saints who refuse the script are not marginal. They are the safeguard of covenant truth, the living counter-program that interrupts Saturn’s cycles and preserves the lineage of the promise.
This work is heavy. Watching the world re-enact ancient lies can be heartbreaking. But the power of the ritual depends on concealment. When the secret is spoken aloud when the triad is named the spell begins to break. Keep documenting. Keep discerning. Keep protecting the camp. And above all, keep the heart of compassion alive even while you speak truth.
The Flipped Script, Part 2: The Hidden Symbols Behind the Event
In the aftermath of the shooting, the media presented a very specific narrative. The serpent seed bloodline always crafts these stories carefully, embedding layers of symbolism, ritual codes, and archetypal roles that mirror their counterfeit gospel. Let’s break it down.
Fact: The shooter was named Tyler.
Decode: The name Tyler connects to “tile” and “builder,” resonating with Masonic language the Tyler is the guardian of the lodge doors. Symbolically, Tyler becomes the gatekeeper, yet here he is cast as the destroyer. He mirrors Satan/Saturn, the one “falling like lightning” (Luke 10:18), the power of rebellion. His role becomes the dragon archetype of Revelation 12.
Fact: He dressed in black, echoing Saturn symbolism.
Decode: Black is the color of Saturn, the devourer, the keeper of time. To dress in black is to embody the shadow the adversary. This signals his role as the imprisoned force, the scapegoat who will be taken down so another can rise.
Fact: The victim figure was framed as an innocent “Jacob” character.
Decode: In truth, this Jacob figure is portrayed as a Jesus/messiah archetype, but when you decode deeper, the script flips it is really Cain being elevated. This is the Esau/Edomite reversal, the counterfeit line trying to wear the garments of Jacob. Scripture already warned of this:
“They say they are Judahites (the real Hebrew), and are not, but are the synagogue of Satan.” (Revelation 2:9)
And again:
“If you were Abraham’s children, you would do the works of Abraham… You are of your father the devil, and the lusts of your father you will do.” (John 8:39–44)
This is the serpent seed’s deception they claim the inheritance of Jacob while embodying Cain.
Fact: Erika, the widow figure, stepped forward after the event.
Decode: Her role is clear: she embodies Eve/Isis, the “mourning widow” of esoteric lore. In Masonic and Egyptian myth, the widow carries on the seed she births the next cycle, the Horus figure, who will avenge and “restore” the line. This is the counterfeit of Revelation’s woman clothed with the sun not the true Bride of Christ, but the false Eve rising.
Fact: Tyler had connections to the Mormon/Latter-Day Saints community.
Decode: The Latter-Day Saints imagery links to Revelation 20’s “Camp of the Saints” — the prophetic battleground where Gog and Magog surround the holy ones. By tying the story into Utah (Orem, St. George, Pine View), the ritual anchors itself in symbolic geography: George is the dragon-slayer, pine signals evergreen time-cycles, and Orem links to fire/brimstone imagery.
Fact: Media emphasized themes of freedom and community unity.
Decode: Watch the code carefully — freedom is wordplay for Free-Edom. This is the Edomite dream: a world free from God’s law, unbound from the covenant, but really enslaved to the serpent seed. Their “unity” is not the Church of Christ but the building of Babel all over again.
Fact: Charlie Kirk’s name entered the orbit of the story.
Decode: James means Jacob, while Kirk means “church.” Together it encodes “Jacob’s Church.” Yet the irony is clear: the serpent seed flips Jacob into Cain, twisting the symbols of the true church into the synagogue of Satan.
The Pattern Repeats
Step back and you see the full script:
1. The Cain/Jacob/Jesus figure is sacrificed.
2. The Saturn/Satan/Tyler figure is imprisoned.
3. The Eve/Isis/Erika figure emerges as the hero, the widow who will carry the line forward.
This is the counterfeit gospel played out on the world stage, a ritual echo of Isis, Horus, and Set. It’s their great inversion — sacrificing what appears to be Jacob, chaining Saturn, and elevating a false Eve as ruler.
