White Rabbit, Black Cube: Decoding Bad Bunny’s Super Bowl as a Modern Baal Harvest Fertility & Child Sacrifice Ritual
Part 1: The Sugarcane Fields – Canaanite Curse and Children of Cane/Cain Harvest
The show begins with one of the most visually striking and symbolically loaded images: Bad Bunny emerging from a vast, immersive sugarcane field. Towering green stalks sway under dramatic lighting. Traditional Puerto Rican jíbaros, farmers dressed in white guayaberas and wide-brimmed pava hats—swing machetes in rhythmic unison, chopping cane. Dancers costumed as living “foliage” move among the plants, their bodies blending into the crop itself, almost as if the field is alive and breathing. This is not subtle background scenery. This is the opening frame millions of viewers see. It sets the entire tone.
On the surface level, it’s a powerful nod to Puerto Rican cultural and agricultural heritage. Sugarcane was the island’s dominant cash crop for centuries—first under Spanish colonialism, then under U.S. corporate control. It represents labor, exploitation, survival, and identity. The jíbaros and pava hats are direct references to rural Puerto Rican life. The machetes are tools of harvest. The white clothing evokes purity, tradition, and the heat of the fields. It’s a proud reclamation of roots in front of the largest audience in the world.
But peel back the layer, and the symbolism shifts dramatically.
Sugarcane = “cane” = Canaan / Cain.
Phonetically and esoterically, “cane” is a direct echo of Cain (Hebrew Qayin, the first murderer, the tiller of cursed ground) and Canaan (Hebrew Kenaʿan, the land and people cursed through Ham in Genesis 9). In biblical narrative, Cain is exiled after killing Abel; his offering of agricultural produce is rejected; he becomes the builder of the first city and the progenitor of a line marked by innovation, violence, and separation. The curse on the ground (“it will no longer yield its strength to you”) is tied directly to agriculture as punishment and exile.
Canaan, his spiritual or genealogical heir in some interpretive traditions, inherits that legacy: a people associated with fertility cults, child sacrifice (molk to Baal and Moloch), merchant empires (Tyre, Sidon), and agricultural abundance purchased through blood and soil rites.
The sugarcane field becomes the field of Cain’s curse reborn.
The machetes become ritual blades—tools of both harvest and sacrifice.
The “children of Cane” are the innocents offered up: the youth performers integrated throughout the show, the symbolic children in the corn/cane, the generational future laid on the altar of fertility and prosperity.
This ties directly to Baal as the storm and fertility lord. In Canaanite myth, Baal battles Mot (death/drought) to bring rain and revive the earth. But in Punic (Carthaginian) tradition, Baal-Hammon demands child offerings (molk) to guarantee that fertility—burnt children as the price for abundant crops, rain, and empire. The sugarcane field is the modern echo of that blood-soil contract: a sweet product (sugar) extracted through brutal labor and historical violence, visually presented as a celebratory harvest.
The youth on stage (Bad Bunny later handing his Grammy to a child, children visible in transitions) reinforce the “children of the corn” archetype—innocence sacrificed or consumed to sustain the cycle. In Mesoamerican overlay (which syncs easily with Canaanite fertility gods), maize deities like Centeōtl require offerings of life for renewal. Here, the cane replaces maize, but the pattern holds: the harvest god feeds on the young.
And the Epstein files connection? The viral “Baal” bank transfer label (dismissed as a typo or scan error) keeps resurfacing in these circles as a signal: elite bloodlines preserving Canaanite rites under modern guises. Whether literal or symbolic, the pattern fits—the spectacle as mass ritual, harvesting attention/energy (loosh) while coded references to ancient sacrifice persist.
In one image—the opening sugarcane field—the entire ritual is announced:
A Canaanite fertility-harvest invocation to Baal, rooted in the curse of Cain/Canaan, demanding the offering of “children of Cane” for abundance.
The veil is cultural pride.
The truth is the blade.
Part 2: Bad Bunny Emergence – Fertility Rabbit Avatar and Adrenochrome Bunny Molecule
After the sugarcane field establishes the cursed ground of Canaan/Cain, the ritual pivots to its central avatar.
Bad Bunny rises from the stalks.
He steps forward in an all-white jersey—number 64 emblazoned across the chest, “Ocasio” on the back—like a sacrificial priest or a marked offering emerging from the harvest itself. The white fabric glows under the lights, evoking purity, surrender, and the blinding whiteness of sugar crystals refined from dark labor. His presence is magnetic, commanding, almost otherworldly. The crowd roars. The rhythm kicks in. And the perreo begins—raw, pulsing, sexual, frenzied.
On the surface, this is simply Bad Bunny doing what he does best: delivering high-energy reggaeton, celebrating Puerto Rican swagger, and turning the Super Bowl stage into a street party. But esoterically, the emergence is the invocation of the fertility trickster made flesh.
The rabbit is no accident.
Across cultures, the rabbit is a universal symbol of fertility, lunar cycles, rebirth, and cunning multiplicity:
In Aztec and Maya cosmology, the rabbit is tied to the moon and the maize god’s sacrificial cycle.
In European folklore, the hare is linked to spring renewal, Ostara/Easter fertility rites, and mad, ecstatic breeding.
In Taino (pre-colonial Puerto Rican) tradition, animal spirits and tricksters carry messages between worlds.
Bad Bunny embodies this archetype perfectly: the “bad” rabbit is fertile, prolific, sexually potent, and slightly dangerous. He is the storm-seed bringer—the dynamic, youthful aspect of Baal (Hadad), the Canaanite lord of rain, thunder, and agricultural renewal who dies and resurrects to fertilize the earth. The perreo dancing—grinding, ecstatic, group trance—is the modern echo of Canaanite ritual dances: bodies moving in possession to invoke rain, growth, and abundance. The frenzy is not random; it is deliberate channeling.
But the rabbit goes deeper—into darker territory.
The adrenochrome molecule looks like a bunny.
The chemical structure of adrenochrome (C₉H₉NO₃), when rendered in its standard skeletal formula, features a bicyclic indole-quinone system with protruding elements that, in certain orientations or simplified diagrams, strikingly resemble a cartoon rabbit: two “ears” rising from the central “head” (the fused rings and carbonyl groups), a compact body, and an uncanny silhouette. This visual parallel has become a fixture in certain conspiracy and esoteric communities—“follow the white rabbit” as the gateway to the adrenochrome rabbit hole.
Adrenochrome lore claims it is the oxidized form of adrenaline, harvested (in the theory) from terrified children to produce a powerful psychoactive and rejuvenating compound—an elixir of youth and altered perception for the elite. Whether literal or symbolic, the pattern fits the ritual:
Sugarcane fields = the cursed harvest of Cain/Canaan, extracted through violence and labor.
Adrenochrome = the “sweet” refined product of trauma, a crystalized high born from fear (parallel to sugar’s refinement from dark cane juice).
The bunny molecule = the hidden signature of what is allegedly being harvested: innocence/children (the “children of Cane”) turned into an elixir of power and immortality.
Bad Bunny rising from the cane fields in white is the white rabbit stepping forth as both fertility avatar and carrier of the darker harvest. He is the trickster who leads the masses down the hole—through rhythm, sexuality, and spectacle—while coding the extraction of energy/loosh/adrenaline on a planetary scale.
The all-white outfit reinforces the duality:
Surface: purity, cultural pride, new beginning.
Deeper: the bleached bones of sacrifice, the white crystal of refined trauma, the pale mask of the adrenochrome user chasing eternal youth.
When he begins to move, the possession takes hold. The dancers convulse in ecstatic trance. The rhythm builds. The ritual is no longer announced—it is enacted.
The fertility lord has arrived.
The bunny has emerged from the cursed field.
And the harvest—both literal and energetic—has begun.
Part 3: Alchemical Wedding and Hieros Gamos – Sacred Union Onstage
The ritual does not begin with isolation or chaos.
It begins with union.
As Bad Bunny emerges from the sugarcane field and the rhythm takes hold, the very first human action the cameras capture is intimate and deliberate: a couple—dressed in white—kissing deeply at center stage. The kiss lingers just long enough to feel ceremonial. Then, in a seamless transition, they are joined in what appears to be a real, live wedding. An officiant is present. Rings are exchanged. Vows are spoken. The crowd cheers as if witnessing a celebrity moment, but the staging is too precise, too symbolic to be casual. This is not a random interlude. This is the hieros gamos—the sacred marriage—placed at the very threshold of the performance.
In ancient mystery traditions, the hieros gamos is the cosmic sexual union of god and goddess that renews the world: sky fertilizing earth, male principle uniting with female to birth abundance, order, and new life. In Canaanite religion, this is Baal and Anat (or Asherah), the storm lord and his fierce consort, whose coupling ensures rain, crops, and the turning of seasons. In Greco-Roman and alchemical traditions, it becomes the wedding of opposites—sun and moon, sulfur and mercury, king and queen—transmuting base matter into gold.
Here, the onstage wedding is the modern enactment of that archetype.
The couple in white represents purity and sacrifice: white as the refined sugar from the cursed cane, white as the robes of initiates, white as the blank canvas for alchemical transformation. Their union is blessed in front of millions, but the real participants are the archetypes being invoked. Bad Bunny, as the fertility rabbit avatar and Baal proxy, oversees the rite. The energy shifts from agricultural harvest (the fields) to sexual/creative harvest (the marriage bed). The perreo that follows, grinding, synchronized, ecstatic, is the consummation made visible: bodies in trance, moving as one organism, channeling raw sexual force into the collective field.
Then Lady Gaga enters.
Dressed in a flowing blue dress and iconic red shoes, she joins Bad Bunny for a salsa-infused rendition of “Die With a Smile.” The collaboration is electric—two global icons merging styles, languages, and energies. But the symbolism is layered and unmistakable.
Blue dress = the waters of chaos (Yam, the sea dragon Baal battles in Canaanite myth), the firmament veil, the blue of the Virgin or the alchemical aqua regia (royal water) that dissolves and purifies.
Red shoes = the ruby slippers of The Wizard of Oz, the blood talisman that carries Dorothy through the vortex, the red of alchemical rubedo (final stage of transformation), the grounding of spirit in matter, the blood price of crossing worlds.
Gaga is no mere guest. She is the feminine counterpart in the wedding: the goddess figure completing the union. “Die With a Smile” itself carries the death-and-rebirth motif, smiling in the face of mortality, embracing the cycle of descent and return. This is Baal’s mythic arc: killed by Mot (death), mourned, resurrected to bring rain and fertility. The song becomes a hymn to that resurrection, performed in the midst of the sacred marriage.
The possession is palpable here.
Dancers convulse in rhythmic trance.
Bodies press together in ecstatic surrender.
The stage pulses with collective sexual-spiritual energy.
This is not accidental choreography.
It is ritual possession—worshippers (performers and audience) becoming vessels for the invoked forces. In Canaanite and Phoenician practice, such frenzied dance and sexual rites were used to call down divine power, to fertilize the land, to renew the cosmic order. Here, the Super Bowl halftime becomes the modern temple: a stadium of millions as the congregation, their attention and emotional release as the offering.
The alchemical wedding is complete.
Male and female have united.
The base (the cursed cane field) has been transmuted through sacred union.
The fertility of Baal has been invoked through the rabbit avatar and his goddess counterpart.
What follows is no longer preparation.
It is enactment.
The storm is coming.
The harvest is being reaped.
Part 4: Wizard of Oz Hints – Gaga's Portal Programming
The sacred marriage has been sealed.
The fertility avatar has risen.
The trance is deepening.
And then Lady Gaga steps into the frame.
She appears in a flowing blue dress that catches the light like water, paired with unmistakable red shoes. The visual is immediate and loaded. For millions, it reads as high-fashion flair or a nod to her theatrical style. For those attuned to symbolic language, it is a flashing beacon: The Wizard of Oz programming has been activated.
The Wizard of Oz is far more than a children’s story or a classic film. In esoteric and conspiracy circles, it is widely regarded as one of the most potent pieces of mass mind-control and alchemical allegory ever produced. The journey of Dorothy—swept from black-and-white Kansas into the technicolor dreamscape of Oz—is interpreted as:
A metaphor for dissociation and trauma-based programming (the tornado as the vortex that fractures consciousness).
An initiatory path through the elements and archetypes.
A coded map of moving between dimensions or states of awareness.
Key symbols recur obsessively in occult readings:
The yellow brick road = the solar path, the golden path of enlightenment, the alchemical journey from lead to gold.
The ruby slippers (changed from silver in the book) = blood talismans, grounding energy, the power to return home through trauma or sacrifice.
The blue gingham dress (Dorothy’s original) = innocence, the veil of the mundane world, the color of the sky/firmament/water that must be crossed.
The tornado = the portal, the chaotic descent into the underworld or alternate reality.
The white rabbit (Alice in Wonderland overlap) = the guide who leads one down the hole.
Now overlay this onto the halftime show.
Gaga enters in blue (the color of Dorothy’s dress, the waters of chaos, the firmament veil) and red shoes (the ruby slippers, the blood-red anchor that activates the return—or the crossing). She is not just a guest artist. She is the feminine guide, the goddess counterpart in the alchemical wedding, and the portal programmer.
Her song choice—“Die With a Smile”—reinforces the theme:
Smiling in the face of death = the initiate’s acceptance of the cycle (Baal’s descent to Mot’s realm, the underworld journey, the trauma that births rebirth).
The duet with Bad Bunny = the union of opposites (American pop icon + Puerto Rican reggaeton king, English + Spanish, surface glamour + raw street energy) mirroring the hieros gamos.
But the real function is deeper.
The Wizard of Oz motif serves as a trigger and a portal instruction embedded in the ritual.
The red shoes signal: “Click your heels three times and return home”—but in this context, “home” is not Kansas. It is the other side of the veil. The blue dress evokes the crossing of the firmament waters (Yam, the sea of chaos that Baal must conquer). The entire sequence invites the viewer—consciously or unconsciously—to follow the rabbit (Bad Bunny) through the tornado/vortex (the storm of rhythm and frenzy) into a new state.
This is classic programming overlay:
The sacred marriage opens the gate.
The rabbit avatar leads the way.
The Oz symbols provide the navigation keys.
Gaga’s presence activates the portal layer.
The blue and red are the colors of the alchemical process: blue for dissolution (the nigredo/albedo transition), red for coagulation and final manifestation (rubedo). The show is no longer just a performance—it is a mass ritual of guided dissociation, emotional entrainment, and symbolic crossing.
The frenzy intensifies.
The dancers move as if pulled by unseen forces.
The audience sways, screams, surrenders.
The veil thins.
The rabbit hole opens wider.
And the next symbols, the electrical poles, the Mount Meru axis, are about to reveal what lies on the other side.
Part 5: Electrical and Barber Poles – Mount Meru Axis and North Pole Symbolism
With the sacred marriage consummated and the portal keys (blue dress, red shoes) activated, the stage begins to reveal its deeper architecture.
During the buildup to “El Apagón,” the cameras pan across a series of tall electrical poles—realistic utility poles rigged with sparking wires and climbing workers in high-visibility gear. Performers scale them, hang from crossbars, and move in synchronized patterns that make the poles feel like living conduits. Interwoven in the visuals are subtle spiral motifs, barber-pole-like red-and-white striping implied in lighting, costuming accents, and the twisting motion of dancers.
On the surface, this is a direct homage to Puerto Rico’s recurring power outages—especially the infamous grid failures after Hurricane Maria and ongoing infrastructure struggles. “El Apagón” (The Blackout) is both a song title and a cultural reference point, a raw commentary on resilience amid systemic neglect. The poles and workers are narrative: everyday people climbing to restore light in darkness.
But the symbolism operates on a far more ancient and cosmic level.
The electrical poles are Mount Meru made manifest.
In Vedic, Hindu, and broader esoteric traditions, Mount Meru is the central world-axis mountain—the immovable pillar at the heart of creation, connecting the underworld, the earthly plane, and the heavens. It is located at the North Pole in many cosmologies (the Hyperborean center, the magnetic black rock mountain, the original Eden/Polar Paradise before the tilt or flood). Meru is not just a physical peak; it is the cosmic spine, the axis mundi around which the universe rotates.
The poles onstage serve as vertical conduits—channels of electric force rising from earth to sky. Their placement, height, and sparking activity mirror the electric universe model: plasma discharges flowing along polar-aligned axes. In ancient petroglyphs and esoteric lore, Mount Meru is depicted with lightning, auroral glows, and plasma phenomena—exactly the kind of energetic display evoked by these sparking poles.
Then there are the barber poles.
The classic red-and-white spiral of the barber pole (originally a bloodletting symbol—red for blood, white for bandages) is a direct visual echo of the kundalini serpent or DNA helix coiling up the Meru axis. In yogic and alchemical traditions, the serpent energy rises from the base of the spine (earth) to the crown (heaven), spiraling around a central channel. The barber-pole motif encodes this ascent: the twisting red-white ladder of life force, blood and purity intertwined.
Together, the electrical poles and barber spirals declare the stage a cosmic axis point—a modern Mount Meru erected in Levi’s Stadium. The North Pole alignment is reinforced by the ritual’s apocalyptic undertones: the black rock Hyperborean center, the original Eden at the pole, the place where the four rivers once flowed before the world shifted.
This is not decoration.
It is orientation.
The ritual is aligning the participants (performers, audience, global viewers) to the world-axis.
The electrical discharge is the plasma breath of the mountain.
The spirals are the rising serpent preparing to strike or enlighten.
The poles are anode and cathode in waiting—positive and negative charges ready to discharge.
They are the pillars supporting the dome of the firmament (to be explored in the next part).
They are the lightning rods drawing down the storm of Baal.
The trance deepens.
The frenzy builds.
The axis has been planted.
What happens when the poles discharge, when the blackout arrives, is no longer just a song.
It is the beginning of the plasma apocalypse theme—the cataclysmic reset along the Meru spine.
Part 6: The 3 Poles as Firmament Pillars – Apex Dome and Plasma Apocalypse Theme
The Mount Meru axis has been raised.
The electrical poles stand tall, crackling with artificial lightning.
The barber-pole spirals twist in the background like rising serpents.
Now the number three becomes impossible to ignore.
Three distinct electrical poles dominate the staging during the transition into “El Apagón.” They are not randomly placed. They form a deliberate triad, two outer poles flanking a central one, positioned to draw the eye upward toward an implied apex. Workers climb them in choreographed patterns. Sparks fly. The lighting shifts from warm harvest tones to cold, electric blues and whites. The song’s lyrics and beat pulse with urgency: blackout, collapse, darkness before something new.
On the surface, this continues the Puerto Rican power-grid commentary, three poles as a visual shorthand for a failing system, a nation repeatedly plunged into darkness. But the symbolism has already transcended the literal.
The three poles are the three pillars supporting the apex dome of the firmament.
In ancient and esoteric cosmologies, the firmament is not just sky, it is a solid dome or vault separating the waters above from the waters below (Genesis 1:6–8). This dome rests on foundational pillars. In Solomon’s Temple architecture (mirrored in Masonic symbolism), the two famous bronze pillars are Boaz (strength) and Jachin (establishment), flanking the entrance to the holy place. A third, central pillar is often implied or esoterically present as the axis of balance, the path of the middle column in the Tree of Life.
Canaanite cosmology echoes this triadic structure: three levels of reality (heavens, earth, underworld) held together by vertical supports. The three poles onstage are a direct ritual recreation of those supports:
Left and right as Boaz and Jachin (polarity: positive/negative, anode/cathode).
Center as the central pillar—the Meru spine itself, the channel of pure ascent/descent.
Together they uphold the apex dome—the invisible firmament ceiling of the stadium, metaphorically extended to the cosmic dome over the entire ritual field. When the poles spark and the blackout theme hits, it is the dome under stress: the firmament cracking, the plasma discharge threatening to flood through.
This is where the plasma apocalypse theme fully ignites.
In electric universe and catastrophist models (popular in certain esoteric and alternative history circles), ancient cataclysms were caused by massive plasma events—auroral discharges, interplanetary lightning, pole shifts. Petroglyphs worldwide show squatting figures beneath ladder-like plasma columns and dome-breaking discharges. The three poles + sparking = a modern invocation of that archetype: the anode and cathode discharging across the central pillar, releasing pent-up cosmic energy, triggering the blackout/reset.
The song “El Apagón” is not just about literal darkness.
It is the blackout before the new dawn—the apocalyptic night when the old order collapses and the plasma storm purifies or destroys.
Baal’s storm returns not as gentle rain, but as cataclysmic thunder: the death of Mot (drought/death) through overwhelming electric force.
This theme is reinforced by the larger 2026 context.
The Winter Olympics opening ceremony (just two days earlier, February 6, 2026, in Milan-Cortina) featured a spiral LED stage with four radiating ramps, widely interpreted in esoteric communities as a Mount Meru map, with the four ramps symbolizing the four rivers of Eden flowing outward from the polar mountain (Genesis 2:10–14). Hyperborea, the black rock north pole, the original paradise before the world tilted or flooded—all converge here. The Super Bowl stage, with its three firmament pillars, is the vertical complement to the Olympics’ horizontal Meru layout: axis and rivers, pole and outflow, apocalypse and renewal.
The blackout arrives.
The lights drop.
The frenzy reaches fever pitch.
The three pillars have done their work.
They have held the dome.
Now they signal its impending breach.
The plasma apocalypse is no longer foreshadowed.
It is being ritually enacted.
Part 7: Tires and Truck – Canaanite City of Tyre Empire Code
The axis has been raised.
The firmament pillars have sparked and held.
The blackout has descended like a veil torn.
Now the stage begins to shift from the rural to the urban, from the ancient cursed field to the machinery of empire.
A large truck rolls into view—rugged, industrial, its tires prominently featured in the lighting and camera angles. The tires are not incidental; they are oversized, textured, and framed deliberately, gleaming under the stage lights as the vehicle maneuvers across the transformed space. The sugarcane fields fade into the background, replaced by rooftops, parking lots, concrete, and urban rooftops that evoke the sprawl of modern cities. The transition is seamless but loaded: from the soil of harvest to the asphalt of commerce and conquest.
On the surface level, this is storytelling.
The truck represents mobility, the working class, the hustle of everyday life in Puerto Rico and the broader diaspora. The shift from field to city mirrors Bad Bunny’s own narrative arc—rural roots giving way to global urban dominance. The tires grip the ground, symbolizing traction, movement, survival in tough conditions.
But the deeper code is unmistakable.
The tires are Tyre.
Tyre (modern-day Lebanon, ancient Phoenician city-state) was the beating heart of Canaanite civilization at its imperial peak. It was the merchant metropolis, the purple-dye capital (Tyrian purple extracted from sea snails, a color of royalty and blood), the seafaring empire that spread Baal worship across the Mediterranean. Tyre is synonymous with wealth built on trade, exploitation, and ritual power. In biblical prophecy (Ezekiel 26–28), Tyre is condemned as the arrogant city that sits on many waters, enriched by violence and commerce, destined for apocalyptic downfall, yet its legacy persists in every wheel of trade and empire.
The tires onstage are not just rubber.
They are phonetic and symbolic stand-ins for Tyre, round, rolling circles of empire, carrying the weight of Canaanite merchant culture forward into the present. The truck itself becomes the modern chariot: Baal’s storm chariot reimagined as a vehicle of conquest and mobility, transporting the old gods’ influence from the ancient Levant to the New World.
This transition is the ritual pivot:
The sugarcane fields = the cursed agricultural origins of Cain/Canaan, the blood-soil base.
The truck and tires = the rise of Tyre, the commercial/colonial overlay that turned harvest into global empire, sacrifice into profit.
The tires roll forward like the wheels of time,Saturnian cycles grinding onward. They are circles (Saturn’s rings), repeating patterns of domination: extract, refine, trade, sacrifice, repeat. The urban rooftops that appear next are the new Tyre, modern cities built on the same foundation of exploitation, now broadcasting Baal’s fertility rites through spectacle and music.
The truck’s presence also carries a subtle apocalyptic undertone. In end-times imagery, wheels and chariots appear in visions of judgment (Ezekiel’s wheels within wheels, the chariots of fire). Here, the truck rolls as a harbinger: the empire of Tyre reborn, carrying the cursed lineage into the final phase of the ritual.
The poles still stand in the background, crackling faintly.
The blackout has passed, but the energy lingers.
The stage has become a hybrid space: ancient field and modern city fused, Canaanite roots and Tyrian empire intertwined.
The harvest has been gathered.
The empire has arrived to claim it.
Part 8: Saturn Symbolism – Ring, Cube, and Time Cycles
The empire of Tyre has rolled in on its symbolic tires.
The urban rooftops now surround the stage like a modern citadel built on ancient foundations.
The blackout has passed, but the air still hums with residual charge.
And now the deepest layer of the ritual’s architecture reveals itself: Saturn.
Throughout the performance, recurring circular and cubic forms appear in the staging, lighting, and choreography. Circular rings of light encircle the performers. The central platform subtly evokes a boxed, enclosed space. Bad Bunny repeatedly positions himself within framed geometric structures—standing, moving, eventually falling into them. These are not random design choices. They are deliberate invocations of the planet and god most associated with limitation, time, harvest, and hidden rulership: Saturn.
In Roman mythology, Saturn (equivalent to Greek Cronus/Kronos) is the old father-god of the Golden Age, the sower of seeds, the reaper with the sickle, the ruler over agriculture and periodic renewal. But he is also the
devourereating his own children to preserve powerand the lord of melancholy, endings, and the slow grind of time. In occult traditions, Saturn is the gatekeeper of matter, the black cube of restriction, the planetary force that binds spirit into form.
The symbols onstage speak this language clearly:
The ring
Circular halos of light, stage rings, and implied orbital patterns surround key moments. The ring is Saturn’s most iconic astronomical feature, its encircling bands of ice and dust, but esoterically, it is the wedding band of time, the cycle of limitation, the halo of authority that binds the initiate. In alchemical terms, the ring can represent the ouroboros or the sealed vessel where transformation occurs. Here, it frames the fertility ritual, reminding us that even Baal’s storm and abundance operate within Saturn’s inescapable cycles: birth, growth, harvest, death, repeat.
The cube
Bad Bunny stands within, moves through, and ultimately falls into a geometric, box-like structure—visually reinforced by lighting and platform design. The black cube is one of the most potent Saturn symbols in occultism: the Kaaba in Mecca (black stone cube), the Masonic cornerstone, the prison of three-dimensional matter, the container of time and gravity. Saturn rules structure, boundaries, and the material world, the “lead” that must be transmuted. The cube onstage is the matrix of restriction within which the entire ritual unfolds, the black box that holds the harvest, the fertility, and the coming apocalypse.
Time cycles and melancholy
The performance is saturated with Saturnian themes of harvest and loss. The album tie-in (Debí Tirar Más Fotos – “I Should Have Taken More Photos”) is pure Saturn: nostalgia for what has passed, the melancholy of time slipping away, the realization that all harvests end. The sugarcane fields (agricultural cycle), the wedding (union within time), the blackout (end of an era),all are Saturnian rhythms. Even the frenzied dancing carries a shadow: ecstasy shadowed by inevitable exhaustion, the peak before the fall.
The onstage wedding at the start of Bad Bunny’s 2026 Super Bowl halftime show was a meticulously staged alchemical wedding, the chemical coniunctio of opposites transmuting base matter into divine gold. The couple in pristine white represented the purified prima materia, the albedo stage of whitening and cleansing, emerging from the cursed sugarcane fields of Cain’s lineage. Their union embodied the sacred marriage of solar (male, active, Bad Bunny’s Baal-rabbit fertility) and lunar (female, receptive, the white-clad bride), sealed by rings that echoed Saturn’s binding circles of time. This hieros gamos dissolved the raw, exploited harvest in the aqua regia of passion and rhythm, coagulating it into a new form: the philosopher’s stone of rebirth. The officiant served as the hermetic priest guiding the Great Work, while the ensuing perreo frenzy became the visible consummation—ecstatic bodies merging in trance to raise sexual-spiritual energy for the collective vessel. The white garments glowed like refined sugar crystals, foreshadowing the rubedo stage yet to come with blood-red accents, making the entire sequence not mere spectacle but a televised alchemical operation projected to millions, transforming trauma, sacrifice, and cultural pride into the prima materia of a new aeon.
This Saturnian overlay is no accident.
Recall that in Punic (Carthaginian) religion—the direct descendant of Canaanite worship—Baal-Hammon was explicitly syncretized with Saturn/Cronus. The same god who demanded child offerings for fertility and prosperity was identified with the old, severe time-god who ruled the Golden Age before devouring it. The Super Bowl stage becomes a modern temple where Baal’s youthful storm energy is contained and directed by Saturn’s cold, cyclic authority.
The ring encircles.
The cube confines.
Time turns.
Bad Bunny, as the fertility rabbit and Baal avatar, is operating inside this Saturnian framework, his energy explosive yet bound, his harvest abundant yet doomed to be reaped. The rings and cube are the architecture of control, the invisible chains that ensure the ritual’s power flows upward to the hidden architects.
The stage is now fully revealed as a Saturnian harvest machine:
Canaanite fertility rites channeled through Tyrian empire, held within the black cube of time, crowned by the ring of eternal return.
The fall is coming.
The portal is opening.
Part 9: The 64 Jersey – GOG in Gematria and End-Times Portal Key
The Saturnian architecture is now fully in place.
The black cube confines.
The rings encircle.
Time grinds forward.
And at the center of it all stands Bad Bunny—wearing the single most numerically charged garment of the entire performance: the white jersey with 64 boldly printed across the chest, “Ocasio” on the back.
On the surface, this is just a customized sports jersey, a personal touch tying into Bad Bunny’s surname and the athletic energy of the Super Bowl. Number 64 could be dismissed as arbitrary flair or a random choice. But in the layered language of this ritual, it is neither random nor trivial.
64 = GOG in Gematria.
In Hebrew gematria (the system of assigning numerical values to letters), Gog (גּוֹג) calculates as follows:
Gimel (ג) = 3
Vav (ו) = 6
Gimel (ג) = 3
Total: 3 + 6 + 3 = 12 in standard full-value gematria, but in simple/English ordinal gematria and certain widely referenced alternative systems (commonly used in modern esoteric and conspiracy decoding), GOG = 64 (G=7, O=15, G=7 → 7+15+7=29 → reduced or aligned variants hit 64 in popular gematria calculators like Gematrix and others that apply English reduction or reverse methods). This 64 alignment is a recognized “hit” in those circles and has been repeatedly cited in connection with end-times figures and events.
Beyond the gematria, 64 carries immense symbolic weight on its own:
8 × 8 = 64 → the perfect square of the black cube (Saturn’s matrix, the 8-sided octagon, the containment field of matter).
64 hexagrams in the I Ching → the complete map of cosmic change and destiny.
64 codons in human DNA → the genetic blueprint, implying a harvest or rewriting of life itself.
64 = 2⁶ → binary power, digital foundation, the code beneath the spectacle.
The jersey is not decoration.
It is the numeric key.
It is the signature of Gog.
The Bible describes Gog (and Magog) in two primary end-times passages:
Ezekiel 38–39: Gog of the land of Magog, prince of Meshech and Tubal, leads a massive northern coalition against Israel in the latter days. God intervenes with fire, earthquake, and plague, destroying the invaders.
Revelation 20:7–9 — the most direct and chilling parallel to this ritual:
“And when the thousand years are expired, Satan shall be loosed out of his prison, and shall go out to deceive the nations which are in the four quarters of the earth, Gog and Magog, to gather them together to battle: the number of whom is as the sand of the sea. And they went up on the breadth of the earth, and compassed the camp of the saints about, and the beloved city: and fire came down from God out of heaven, and devoured them.”
Here, after the millennial reign, Satan is released. He summons Gog and Magog—an army described as innumerable, coming from the four quarters (north, south, east, west), surrounding the camp of the saints and the beloved city (Jerusalem, or symbolically the purified people of God). This is the final siege before divine fire consumes the invaders and the old order is ended.
In this ritual context:
64 on the jersey = the invocation of Gog.
The “army of the dead/aliens” = the innumerable host of Revelation 20—deceived nations, resurrected or summoned forces, watchers/fallen entities returning in the end times.
The camp of the saints = the pure remnant, the faithful, the ones encircled and targeted in the final battle.
The entire halftime spectacle becomes the ritual summoning or foreshadowing: mass energy harvest (loosh) to empower the release, the frenzy as the gathering of the deceived, the blackout/plasma apocalypse as the fire from heaven precursor.
Bad Bunny wearing 64 is not just a performer.
He is the herald.
The rabbit avatar opens the portal, the fertility lord sows the seed, and the numeric key unlocks the gate for Gog’s army to surround the camp.
The fall into the cube/portal is coming.
The descent through the roof, the emergence through the door, these are no longer abstract.
They are the birthing of the end-times force.
The stage has become the battlefield.
The audience, the unwitting congregation.
And the jersey, the banner under which Gog gathers.
Part 11: Out the Door as Portal – Birthing Horus and New Aeon
The descent is complete.
Bad Bunny has fallen through the roof—arms outstretched in the crucifixion pose—plunging into the house below. The structure (a stylized casita or urban home set) swallows him whole. The fall is slow-motion cinematic, deliberate, almost liturgical: the body dropping through layers of reality, through the roof (firmament breach), into the enclosed space (underworld/house of death), into the hole (abyssal pit). The lighting shifts to shadow and strobe. The music drops low, then surges. The crowd holds its breath.
This is not just a dramatic entrance.
This is the mythic death-and-rebirth sequence enacted live.
He lands inside the cube, the Saturnian black box, the prison of matter, the containment field of time. Arms still wide, body arched, he embodies the dying god archetype: Osiris dismembered, Christ crucified, Baal slain by Mot in the underworld. The pose is unmistakable, cruciform surrender, the solar hero giving himself to the dark so that something new may be born.
Then the pivot: he rises.
He moves through the interior space.
And he exits..out the door.
The door opens.
Light spills through.
He steps across the threshold.
This exit is the true climax of the portal sequence.
In esoteric terms, the door is the liminal gateway: the passage between worlds, the birth canal of the new aeon, the mouth of resurrection. To fall into the house/hell/hole is to enter the underworld. To emerge out the door is to be reborn—transformed, carrying the seed of what comes next.
This is the birthing of Horus.
Horus, the falcon-headed son of Osiris and Isis, is the avenging child, the new solar king who rises after the death of the father-god to restore order, defeat Set (chaos), and usher in the next cycle. In occult and Thelemic traditions, the “birthing of Horus” signals the dawning of a new age (the Aeon of Horus following the Aeon of Osiris). The child-god emerges from the womb of darkness, eyes open, ready to rule.
Here, Bad Bunny, as Baal fertility avatar, rabbit trickster, Saturn-bound herald—becomes the vessel:
The fall = death/dismemberment (Osiris/Baal descent).
The cube/hole = the womb of the underworld, the alchemical nigredo, the bottomless pit.
The outstretched arms = the sacrifice that fertilizes the new birth.
The exit through the door = the emergence of Horus, the falcon-child of the new aeon.
This birth is not gentle.
It is apocalyptic.
The door opens onto a world that has been encircled by Gog and Magog (Revelation 20). The army of the deceived—innumerable, from the four quarters—surrounds the camp of the saints. The ritual has summoned them, or at least ritually foreshadowed their release. The adrenochrome bunny molecule, the sugarcane blood harvest, the frenzy energy, the 64/GOG jersey—all feed into this birthing: a new order rising from trauma, sacrifice, and plasma reset.
The door is the portal door.
The house is hell.
The exit is resurrection into conquest.
Bad Bunny steps through.
The falcon has been born.
The new aeon stands at the threshold, eyes fixed on the encircled camp.
The ritual is no longer preparation.
It is fulfillment.
The harvest has birthed its final fruit.
Part 12: The Grand Harvest Invocation – Mass Frenzy, Epstein Canaanites, and Ritual Culmination
The falcon has been birthed.
The door has opened.
The new aeon stands at the threshold, eyes locked on the encircled camp.
Now the ritual reaches its crescendo.
The stage explodes into full frenzy.
Dancers convulse in synchronized waves of perreo, bodies grinding, limbs flailing, eyes wide with something that looks like possession. The crowd roars in unison—hundreds of thousands in the stadium, hundreds of millions watching worldwide—surrendering to the rhythm. Flags of the Americas wave in the lights: Puerto Rico, Mexico, Dominican Republic, Colombia, and more. Bad Bunny shouts out the nations, the diaspora, the unity. It feels like celebration. It is celebration.
And it is invocation.
This is the mass harvest in motion.
Every scream, every sway, every released burst of emotion is energy—loosh—funneled upward. The frenzy is not chaos; it is deliberate ecstasy, the same ecstatic dance once performed in Canaanite high places to call down Baal’s rain and fertility. The perreo is the modern Asherah pole rite: sexual energy raised collectively, offered to the invoked forces. The audience is the congregation. The stadium is the temple. The broadcast is the altar fire carrying the offering to the unseen architects.
The Epstein files thread runs through it all like a dark vein.
The resurfaced “Baal” bank transfer label, $11,438 wired with “Baal name” in the memo, dismissed by fact-checkers as a scan artifact or clerical error, refuses to die in certain circles. Whether literal or symbolic, it has become a touchstone: a signal that elite networks preserve ancient Canaanite rites under modern disguises. Epstein’s island temple (blue-striped dome evoking the firmament), the Kiswah-like cloth, the persistent whispers of child sacrifice (molk echoes), the bloodline preservation..all align with the pattern we’ve traced: Canaanite fertility cults demanding innocence for power, abundance, and eternal dominion.
The halftime show is not separate from that world.
It is the public-facing broadcast of the same current:
Sugarcane fields = cursed Cane/Cain harvest, children offered.
Adrenochrome bunny molecule = the refined elixir of trauma.
Baal fertility rites = invoked through rabbit avatar and sacred marriage.
Mount Meru pillars and plasma blackout = the apocalyptic reset mechanism.
Tyre tires and Saturn cube/ring = the empire of time and commerce containing it all.
64/GOG jersey = the numeric key summoning the final army.
Fall through roof, into house, out door = death, underworld, birthing of Horus/new aeon.
The whole performance is a grand molk: a televised, global-scale energy sacrifice disguised as cultural pride and party. The “no one’s going to get it” veil is the perfect cover—most see only spectacle, representation, joy. The initiated see the blade, the blood, the portal, the encirclement of the camp of the saints.
And the 2026 context seals it.
The Winter Olympics stage two days earlier—a spiral with four radiating ramps—was widely decoded in esoteric communities as Mount Meru with the four rivers of Eden flowing from the Hyperborean black rock north pole. Paradise lost, paradise to be reclaimed through cataclysm. The Super Bowl provides the vertical axis (three firmament pillars), the plasma discharge, the summoning. Together they form a complete invocation: horizontal rivers of Eden + vertical breach of the dome = the full return of the ancient order after the fire from heaven.
The dancing stops.
The lights flare one last time.
Bad Bunny stands triumphant, arms raised, the white jersey glowing.
The harvest is complete.
The fertility has been sown.
The army has been ritually summoned.
The portal has been opened.
The point of unraveling it?
To see through the veil.
To name what is being done in plain sight.
To refuse to be unwitting fuel in the offering.
The show ends.
The ritual does not.
It continues in every mind that watched, every emotion that was released, every cycle that now turns faster.
The camp is encircled.
The fire is coming.
