Eurovision is a massive television event that has been held annually since 1956. Throughout the years, the competition has launched some of the world’s best-selling singles and turned numerous artists into global superstars.

Of course, the world elite had to turn this campy music competition into an outlet for indoctrination. And they couldn’t be subtle about it; the entire thing had to become a heavy-handed embodiment of Sodom and Gomorrah. I wish I were exaggerating or being overly dramatic but, as we’ll see, I’m just stating facts.

Eurovision’s gradual shift towards all-out elite lunacy became fully apparent during the 2019 finale. Other than its ever-increasing promotion of degeneracy, the finale culminated in a highly ritualistic performance by Madonna, which appeared to have predicted the coming of COVID-19.

Since then, Eurovision has been making it a point to assault its viewers with elite garbage. For instance, in 2021, Cyprus’ song entry titled El Diablo was so blatantly satanic that the song sparked protests in its home country.

That said, the 2024 edition of the competition was particularly egregious in agenda promotion. In fact, the finale’s overarching narrative turned the show into an all-out mega-ritual.

However, as usual, mass media focused on everything except the competition’s actual content, making sure that people ignored the evil that stared them dead in the eyes.

Indeed, most media coverage of Eurovision 2024 focused on Israel’s controversial participation in the competition. This was not helped by the fact that Eden Golan’s song – initially titled October Rain – was a reference to the October 7th Hamas attacks.

Media coverage of Eurovision 2024 in one image: A weirdo dressed in a furry/BDSM outfit shows his support for Israel.

During the finale, every mention of Israel was met with extra loud boos (and some cheers) as the hosts awkwardly attempted to ignore the palpable tension in the crowd. In the end, despite the protests and the controversy, the Israeli contestant ranked #1 in popular votes. Since the actual song was highly unremarkable, one can assume that most of these votes actually supported Israel – the country.

With all of that being said, all of this attention surrounding a contestant who happened to be from Israel caused media to, once again, completely ignore what Eurovision 2024 was truly about: A tribute to Satanism and general degeneracy.

Let’s look at the actual competition.

Sodomvision 2024

Not unlike previous editions of the show, Eurovision 2024’s explicit performances – combined with the unavoidable gender-blurring agenda – exasperated people who still expected the show to be somewhat family-friendly.

Pretty much.

Here are some examples of the “musical” performances featured during the finale.

Spain’s performance featured two male dancers in g-string corsets and high-heeled boots shaking their butts at the public.

During the voting segment, contestants usually wave their country’s flag. However, in several cases (such as in Spain), the LGBT flag is more prominently displayed. Considering that the elite is looking to erase national identities and replace them with a global “culture,” this makes sense.

The UK’s performance was all about gay group sex in a filthy bathroom. That’s it.

It seems like everyone hated that performance. In fact, it received exactly ZERO points from the viewers. Not because of “homophobia”. But because it was cringy, gross, and possibly created a new form of STD.

I’m not British, but I felt second-hand embarrassment.

The representatives of Finland also made it a point to turn this music competition into perversion.

Finland’s performance was all about this guy being naked from the waist down.

While the performance was supposed to be “humorous,” it mostly felt as if a perverted creep was taking pleasure in exposing himself to the young viewers of the show.

Since the contest took place in Sweden, the final featured a tribute to ABBA – the mythical Swedish group who won Eurovision exactly 50 years ago. Did ABBA come out to perform for this occasion? Of course not. This guy did.

Conchita Wurst – the winner of Eurovision 2014 – sang an ABBA song. Why? Because he’s a bearded guy in a dress. No other reason. It’s also why he was invited to perform at the European Parliament and the United Nations. He’s the perfect representation of the elite’s unhinged gender-blurring agenda.

While this depravity was going on throughout the show, another elite obsession was happening in parallel: A demonic ritual. Am I exaggerating? Nope.

The Ritual

While many Eurovision performances were dark and exuded demonic vibes, Ireland’s entry to the contest depicted an actual demonic ritual.

Ireland’s Bambie Thug wears a satanic corruption of Jesus’ crown of thorns. As we’ll soon see, this black crown will take an important meaning at the end of the competition.

Bambie Thug’s performance at the Eurovision Finale was nothing less than a demonic ritual.

During her performance, Bambie Thug lights candles around an inverted pentagram, the center of which is an all-seeing eye. This is not “entertainment” anymore; it is an actual ritual.

Then, Bambie Thug summons a demon on stage.

The singer lifts the demon from the depths of hell at the center of the ritualistic circle.

The witch and the demon share romantic moments. Meanwhile, families are sitting in their living rooms wondering if they’re still watching a music competition. 

On Bambie’s forehead is a triskelion, an ancient Celtic symbol with a profound occult meaning. In this case, the triskelion was stylized to look like 666. Coincidence?

The circle’s center turns into a dodecagram, a 12-pointed star associated with the 12 signs of the zodiac, the 12 tribes of Israel, and other occult meanings. 

The last leg of the song consists of Bambie screaming her head off as she uses her witch powers to cause the demon to convulse on the ground.

The performance ends with the words “Crown The Witch.” At the end of the competition, these words will have different meanings.

Then, the viewers were treated to more satanic symbolism.

In a “funny” segment, the show’s host informs viewers that the Eurovision soundtrack can be listened to in runestone form.

Eurovision 2024 took place in Sweden, where runestones are part of the country’s history. However, there’s something purposely inaccurate about this fake runestone: It features a prominent inverted cross at the bottom. From my research, there are no runes shaped like an inverted cross. This whole segment was just an excuse to display satanic symbolism to millions of viewers.

As if to confirm everything stated above, the competition ended in the most symbolic way possible.

Crown the Witch

The competition winner was Nemo. He performed wearing a short skirt and a pink top. Of course. While Nemo is from Switzerland, the true winner of the competition is the Agenda.

Nemo’s song, The Code, is an “ode to the singer’s journey toward embracing a nongender identity.” Of course, the winning song had to have an elite-friendly message.

Of course, the winner had to be used to push agendas mere days after the win.

When Nemo was announced as a winner, things got very symbolic.

Following his win, Bambie Thug “crowned” Nemo with her satanic crown of thorns.

Nemo held on to the crown throughout his long walk to the stage. When he was given the trophy, he was still wearing the Satanic crown that was “blessed” (I mean “cursed”) during Bambie’s demonic performance.

In short, the whole finale was scripted, ritualistic, and highly symbolic.

Odd fact: The trophy broke and injured Nemo shortly after the competition.

“Speaking to the press, Nemo described the moment the trophy was accidentally broken: “I lift it and when I put it down, it just shattered.” Nemo was later seen wearing bandages on stage after sustaining deep cuts to the thumb.”
– BBC, ‘It just shattered’ – Winner Nemo explains how the Eurovision trophy broke

Don’t mock Jesus, bro.

In Conclusion

Watching Eurovision 2024 was a sad experience. It wasn’t about music that happens to contain social messages; it was social indoctrination that happens to contain music. Things got even sadder when, before each performance, viewers were shown Eurovision snippets from the 20th century. From the healthy, beautiful, and wholesome artists of lore, we suddenly cut to the weird, perverted, tormented, gender-confused, gremlin-like “artists” of today. Every time, we find ourselves asking: “What the hell happened?”

The answer is simple, as the same phenomenon can be observed across all mass media: Eurovision was co-opted by the elite. And this year’s edition heavily revolved around two elite obsessions: Gender-blurring and the celebration of satanism. As seen in previous articles, these two agendas go hand in hand and are often tied together through symbolism in mass media. This shouldn’t be surprising, as Baphomet—the main “deity” of the occult elite—embodies both genders.

Eurovision 2024 was not a “competition”; it was a scripted narrative where a product of the elite’s gender-blurring agenda was “crowned” by a satanic witch.



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