1. Home
  2.  » 
  3. The Unexplained: esoteric and hidden knowledge
  4.  » 
  5. Satanism, the Satanic salute, demon worship, the Black arts and occult abuse
  6.  » An “Urban Opera” in Toulouse Using Massive Machines is Denounced as a Satanic Ritual

An urban opera called “La porte des ténèbres” (“The Gates of Hell”) featured gigantic machines rolling around the streets of Toulouse. Replete with Satanic symbolism, the event had deep ritualistic undertones that caused religious leaders of the city to protest against it. Here’s a look at this bizarre event.

Vigilant Citizen – Oct 31, 2024

In July, Paris hosted the opening ceremony of the Olympic games, which had less to do with sports and more with celebrating outright evil. A few months later, another French city decided to host a massive event that turned its streets into an outdoor Satanic temple. Titled “La Porte des Ténèbres” (“The Gates of Hell”), the festival featured massive machines moving around the city and interacting with each other. While the idea sounds cool, there’s a catch: The machines represent demons, and the entire story is wholly Satanic.

The prologue of this “urban opera” highlights the ritualistic undertones of its story.

“Driven from the Garden of the Hesperides, Lilith, the scorpion woman, has found refuge in the depths of the Earth. Freed by Hades, king of the underworld, she wanders from city to city in search of damned souls to increase her followers and her power. (…) Assembling prodigious signs, she attempts to open a passageway to the beyond.”

This poster promoting this urban opera is highly symbolic. Click to enlarge

This poster deserves a closer look because it sums up the true meaning of this festival. At the top left, the Toulouse Cathedral and the rest of the city are burning. Underneath it, a red, horned beast highly reminiscent of Baal references human sacrifice to please dark forces. At the bottom right, an angelic figure stands above walking skeletons. It most likely represents Lucifer, also known as the Fallen Angel.

At the poster’s center is the opera’s main character, Lilith. This name is not random: Lilith is the primordial “she-demon” cited in the mythology of multiple civilizations.

Lilith, female demonic figure of Jewish folklore. Her name and personality are thought to be derived from the class of Mesopotamian demons called lilû (feminine: lilītu), and the name is usually translated as “night monster.” A cult associated with Lilith survived among some Jews as late as the 7th century ce. The evil she threatened, especially against children and women in childbirth, was said to be counteracted by the wearing of an amulet bearing the names of certain angels.
– Encyclopædia Britannica

Underneath Lilith is a character named Asterion the Minotaur. The labyrinth behind the character is a direct reference to Cretian occult mysteries.

A depiction of the Minotaur roaming around the labyrinth of Crete.

Labyrinths were symbolic of the involvements and illusions of the lower world through which wanders the soul of man in its search for truth. In the labyrinth dwells the lower animal man with the head of the bull, who seeks to destroy the soul entangled in the maze of worldly ignorance. (…) The famous labyrinth of Crete, in which roamed the bull-headed Minotaur, was unquestionably a place of initiation into the Cretan Mysteries.
– Manly P. Hall, The Secret Teachings of All Ages

The Minotaur is also known for eating human flesh, a fact that plays nicely with the occult elite’s obsession with cannibalism.

While the event was promoted as an “urban opera,” the symbolism peppered throughout is everything but fictional. It is used in actual occult rituals, turning this event into a mega-ritual.

Mega-Ritual

Continues …