Mystère -Cirque du Soliel

You can watch the official video extract from Cirque du Soleil below. Be aware that the scenes are out of order and key details that Jason highlights from attending the show in person are missing from their video - I wonder why! Even so - the choreography, athleticism and dancing skills are beyond remarkable.

Watch and listen to Jason's decode here - transcript of his analysis is below:

Summary

The Catalyst: A Vegas Trip and an Unexpected Discovery

Jason was on Las Vegas for his "PSYFR Group" to work on developing and testing a new version of his software. He is as an "applications guy" who needs hands-on experience, not just theory, which led him to Vegas to gather data. It was during this trip, while focused on his work, that he "ran right headlong into a rabbit hole."

This rabbit hole was the Cirque du Soleil show Mystère at the Treasure Island casino. He went into the show with no prior knowledge but was so astounded by what he saw that he immediately bought a ticket to see it again the following night. For the second viewing, he armed himself with a notepad and pen to take detailed, chronological notes of every scene, symbol, and action. He highlights the show's strict "no photography" policy, which forced him to rely on meticulous observation and memory. This methodical approach—watching twice, taking notes, and later purchasing the official companion book—frames his subsequent analysis as a serious investigation rather than a casual interpretation.

Decoding the "Mystère": Clues Before the Curtain Rises

Jason begins his deep dive into the show by deconstructing its foundational elements, arguing that the clues to its secret meaning are present before the main performance even starts. He explains that the title itself, Mystère, is derived from the Greek mysterion, meaning a "secret rite or secret doctrine," signaling that the show is an initiatory ritual. He notes that the show, which premiered on December 25th, 1993, is Cirque du Soleil's first and longest-running production, giving it foundational importance.

He was captivated by the show's music, which is sung in a completely fabricated language. He posits that this is not merely artistic flair but a key component of the "spell" being cast; the language has a precise, hidden meaning known only to the initiates (the performers and creators). Further clues were found in the gift shop, where merchandise carried enigmatic slogans like "Keep your eye on the ball." He also points out the deliberate and exclusive use of Phoenix palms in the staging, linking this directly to ancient Egyptian traditions where these palms were sacred symbols used for time-keeping and calendrical cycles. These preliminary observations establish that every element of the production, from the title to the set design, is imbued with intentional, symbolic meaning.

The Genesis Act: Organizing Chaos and Introducing the Dualities

The show opens with what Jason interprets as a creation myth. Performers on bungee cords, representing "divine" forces, descend to organize a stage of "chaos"—a floor designed to look like shattered glass and broken worlds. This act, he argues, depicts the re-ordering of a previous, destroyed reality. Witnessing this creation are silent, imposing figures in white robes whom Jason identifies as "Archons," observing the process from among the audience.

Once order is established, the Archons recede, and two central characters are introduced: a giant baby named Bebb, representing a young, newly born Sun, and a curious young girl accompanied by a snail, representing the Moon. Jason decodes these two figures as representing two fundamental branches of the human psyche. The Sun baby, who is constantly searching for his "Papa," symbolizes the part of humanity that seeks meaning, origin, and purpose through religion and external authority. The Moon girl, who is fearless and adventurous, represents the branch of humanity that finds meaning in the act of living itself, embracing life as an adventure without the need for rigid doctrine. A key observation is that throughout the show, the Sun (symbolized by a large yellow ball) is kept on the periphery and in the shadows, while the Moon is almost always prominent, a crucial detail supporting his later theories.

The Pre-Flood World: Arrival of the Anuna and the Earthborn

Following the establishment of this new world order, the narrative introduces humanity. Jason interprets the arrival of masked dancers descending on poles as the "descent of the Anuna" or the Watchers into the pre-flood world. He notes their two-faced masks, suggesting they see reality backwards, and the fact that the literature calls them "worms," a term he links to a passage from the Book of Psalms ("What is man but a worm?"). These masked figures are avatars, an otherworldly race arriving on Earth.

They arrive into a world already inhabited by a different kind of human, the "earthborn," represented by highly skilled acrobats on Chinese poles. These earthborn humans are masters of their environment, performing incredible physical feats that the newly arrived masked ones can only observe but not replicate. This creates a dynamic of two distinct humanities co-existing in a pre-flood, jungle-like setting. The entire scene is bathed in a misty, dim light, with the Moon passing overhead but the Sun remaining conspicuously absent, which Jason identifies as a representation of the world under a "vapor canopy."

The Great Cataclysm: Pole Shift and the Intruder Planet

The narrative of Mystère takes a dramatic turn with a sequence Jason interprets as a planetary cataclysm. The scene features a performer representing a frog on top of a dome, which he decodes as symbolizing the stable North Pole and the ascendant amphibian life of a vapor canopy world. Suddenly, two female performers engage in a stunning display of strength on vertical poles, which Jason reads not as a simple acrobatic act, but as a literal representation of the Earth's North and South poles shifting.

The catalyst for this shift is a mysterious horned figure standing on a separate, globe-like sphere (Vashlét). Jason identifies this as the intruder planet—his theorized "Nemesis X"—whose close pass to Earth triggers the pole shift. In a surreal moment that reinforces the simulation theory, the actors on stage then exit through a doorway of laser lights that makes them appear to de-materialize into static, like "digital avatars exiting a false reality." Following this chaos, another bungee act occurs, which he interprets as the divine forces once again having to re-order the world after this new cataclysm.

The Aftermath: The Rise of Giants and a Fleeting Sun

In the aftermath of the pole shift, a new and significant group of characters appears on stage: the giants. Jason directly equates these figures with the biblical Nephilim. He finds it crucial that they appear in the show's timeline only after the arrival of the intruder planet (Nemesis X) and the subsequent pole shift, aligning perfectly with his own theories about when and why the giants emerged in the pre-flood world.

During this era of giants, the Sun makes another brief appearance, but once again remains a peripheral figure, rolled out onto the stage but kept in the shadows. This is followed by an elaborate seesaw act. Jason dismisses a literal interpretation, instead seeing the seesaw as a powerful symbol for the Earth being violently shifted from one ecliptic plane to another. The performers (representing celestial bodies like the Moon and Mars) are tossed back and forth on trampolines that are first aligned one way, and then shifted to be perpendicular, which he sees as a clear depiction of the solar system being reconfigured.

The Revelation: The Red World, the Solar Chariot and the Great Snail

The climax of the show comes with a series of powerful, revealing symbols. The most significant is the image of a large, red world that slowly drifts across the background sky and then fades away. This is the show's biggest secret: it is not the Sun, but the intruder planet Nemesis X departing after its 60-year sojourn in our solar system. The fact that the show’s companion book offers no explanation for this major visual element seems proof of its hidden, esoteric importance.

Immediately after the red world disappears, the Sun finally comes into its own. It is driven across the stage in a brightly lit golf cart, which resembles a "modern solar chariot," symbolizing the sun's triumphant return to prominence in the sky. The show's final image is its largest prop: a gigantic snail. This is a powerful symbol of the antediluvian, pre-flood world—a time of goddess veneration, where the lunar (the snail) and the feminine principle were dominant. The show's own book confirms this cyclical theme, stating that "the future is built on the foundations of the past," validating his interpretation of the show as a repeating myth.

The Phoenix Connection: "Awakening" and the Penumbra Era

As a final, compelling piece of evidence, Jason shares another discovery from his Vegas trip. After seeing Mystère, the concierge at Treasure Island recommended he see another show called Awakening at the Wynn casino. Intrigued, he went. In the lobby of Awakening, he was stunned to find a display case of ceremonial artifacts attributed to a fictional "Phoenix Tribe." The artifacts were explicitly labeled as being from the "Penumbra Era"—an era of a darkened sun.

The display included a "Shadow Warrior Mask," a "God of Light," a "Goddess of Darkness," and most tellingly, a figurine of "The Great Phoenix." The show itself culminates in the revelation of a massive, mechanical Phoenix. This was an astonishing discovery. It connected two separate, mainstream Las Vegas shows into a single, cohesive mythos that perfectly mirrored his own independent research into the Phoenix, a darkened sun, and ancient cataclysms. He was amazed to find his niche, conspiratorial theories laid out so blatantly for mass consumption.

Conclusion: A Cohesive Mythos

Jason concludes by expressing his sheer astonishment at how a show created in 1993 could so perfectly encapsulate the complex, esoteric history he has spent years researching. He sees Mystère and Awakening not as mere entertainment, but as a deliberate and public unveiling of a hidden, cyclical mythos. He marvels at the fact that he went to Vegas for one reason and stumbled upon the most significant and unexpected validation of his work.

Unabridged transcript

Before we start, concerning the music, I put the link in the description box, did a community post, and posted on X a link to the Mystère show so you could hear some of the music. The music is haunting; it is amazing. When I was listening to the music in the presentation, it dawned on me that I was listening to very hard consonants and syllables, vowels of a language I've never heard before. It was not Latin, French, Russian, Portuguese, or Spanish. It certainly wasn't English, and it certainly wasn't any oriental tongue. I was so spellbound by the syllables because it's live music. On one side of the stage, there's a band playing all kinds of instruments. On the other side are the singers. This woman is singing during the entire presentation, and the song changes.

I had to look it up, and I couldn't believe that Cirque du Soleil admits they 100% created their own constructed language for the Mystère show and then used that language to write songs. This woman is singing these songs. So what I'm going to tell you here is that I am pretty convinced that the songs do have meaning. They're not random. They're too perfectly structured. It doesn't matter if there isn't a single other soul in the world that speaks this language. They admit to creating a language in order to make the songs. When you're listening to it, she's definitely saying something, definitely communicating something. Whether we know it or not, in private among them, they're going to know what's being sung.

That's what makes this a spell, just like its title, Mystère. Mystère comes from the old days of the Greek stage plays when you were watching the Mysterion. The Mysterion was the unfolding of a drama in ritual, in dance, in acting, and in pantomime—a ritual which was a community spell. That's exactly what's going on here, and they are masters at what they do. But what is being conveyed in the Mystère presentation is shocking. It is the creation, the organization of order out of chaos. It is the unfolding of the pre-flood world in two groups of humanity, the appearance of giants, a strange object in the sky, and vapor canopy mechanics. It's all in this presentation. It's amazing. I'm going to show it to you. I did not expect to go to Vegas and walk right into this rabbit hole.

So, I'm going to start sharing my screen. I think after we play the errant ad at the end of the video, I'll replay the song that I used for an intro. I'll just replay it on the way out, too. So, I'm going to leave it in the file here.

All right, let the journey begin. There's my ticket. Really interesting characters in here. That's my Phoenix pen; I take that everywhere. All the books I read, I mark. There's the strong man. He used to have an act in Vegas before he was huge, before the Mystère show. Two different types of humanity on the left and on the right. I'll show you who everybody is in just a second.

This is a computer ticket to the show. Here's where I got the ticket: Treasure Island. Now, keep in mind, what's really interesting about the Mystère presentation is that it's their very first Cirque du Soleil presentation. That is "Circuit of the Sun" right there. The solar aspect of the show is reinforced by its official symbols, as I'll show you.

This is the store in Treasure Island for the Mystère show. This is very odd. This display in Treasure Island tries to get you to go watch the show on the other side of the casino. This is really bizarre. In the book, these dancers are like zygote humans in their most primitive form, like sperm. That's who they represent. What they're doing with these hand signals, I don't know, but it's bizarre. It's not just bizarre, but it's extremely obvious that they mean something. There it is again. The creepy face is what got me because I've seen this face before, and I'll show it to you before the end of the video.

Here's another ad. This is the narrator, the guy holding the puppet. In the Mystère book they sell in the gift shop, he's called the Narrator. He's the mouth behind the little avatar. The puppet is an avatar. He's the mouth and mind that makes the puppet do all kinds of things. He's called the Narrator, and he just comes in and out of the story over and over at the weirdest times.

One of the streets Treasure Island is on is called Mystère Dreams. I just happened to look up and see that. It's critical for you to understand that for the Mystère show, being the very first and most important of the Cirque du Soleil shows, the symbol for the show is the sun. Cirque du Soleil means "Circuit of the Sun." The reason this is important is because the sun plays almost no part in the presentation, and yet it is in the presentation. This is going to get trippy.

Just a few little ads showing the characters. There's the Narrator. Mystère at Treasure Island in Las Vegas, as of 2024, was in its 32nd anniversary year. So I saw it in its 32nd year. It is the longest-running show; it's their first one. Look at this guy's name: Franco Dragone, the director of Mystère. I listened to an interview by him, and he was explaining what a lot of the symbolism was. Really interesting drops. Mystère opened, and on December 25th, 1993, Cirque du Soleil, Circuit of the Sun, premiered for the very first time. I know some of you know the association here.

As of 11 years ago, because this is a clip from 11 years ago, it had already done 8,800 Mystère presentations. That's why they're experts at what they do. They've been doing this a long time. Except for some of the support staff that don't have to do acrobatics, there is no way that the original athletes in 1993 are still a part of the program, unless they're there for support, because they've all gotten older. What they do is almost impossible. It's amazing. This show entertained 12 million guests 11 years ago, so I don't know what the numbers would be today. Just a little background on this interesting show.

Another thing before we start this presentation, I want to take you through the gift shop. Nobody mass-produces t-shirts, books, and all kinds of paraphernalia and then puts little enigmatic slogans on there that don't mean something. When I went through the gift shop, I was instantly on it, like, " Oh, wait a minute. Hold on. That's not an ordinary t-shirt. Why would you even say that?"

So, here is Bebb. Bebb is in the show. Bebb is a giant baby. But Bebb as the giant baby is actually a young sun. This giant baby, the sun, is always associated with the sun throughout the entire presentation. And remember, this is Circuit of the Sun. You saw he had a ball, the sun ball right there. This slogan is everywhere; they even say it in the presentation for you: "Keep your eye on the ball."

So, I did. I followed instructions. I tried to watch everything. There's too much to see. I went twice, but I wouldn't mind going a third and fourth time to see even more from a different vantage point, choosing seats somewhere else. But I did keep my eye on the sunball. I couldn't believe what I was seeing when all the acrobatics were going on, when the spotlights were showing pictures of the world, pictures of a vapor canopy, pictures of the cosmos being created as the archons witnessed everything. I could not believe they said, "Keep your eye on the ball," but they kept the sun ball outside the light, always moving on the perimeter of the presentation, always moving in the darkness while the moon was clearly present. I'll show you the pictures.

Over and over, the baby is looking in the crowd at somebody he calls "Papa." Here's another sweater. This little girl here, she is literally introduced as the moon. These are the two main individuals in the beginning of Mystère. This isn't me making this up. The book literally says that the first two dancers are weaving the chaos into order. The very first act after the chaos is gone and order is here is when they introduce the baby with the big ball and a young, energetic female dressed as a young girl, full of energy. She moves a whole lot and she's in the spotlight a lot, but not the sun.

Another theme of Mystère is that the story actually begins with the Trickster. We have some type of divine presence that is keeping the entire atmosphere jovial. No matter how dark some of the scenes are, there is an undercurrent of humor, of laughter, like none of this is to be taken seriously. I'll introduce him, too. "Laugh along with life." These are all the things that just jumped out at me as I was going through the gift shop because I didn't go through the gift shop until after I had seen it one time. Then I went back and saw it again the next day. After seeing it one time was enough, now all these things are jumping out at me in the gift shop. We'll get to that snail here in a minute, too. This is still the gift shop.

"Circus of the Sun," I'll buy that. Somebody else said it: Cirque du Soleil. I knew it was "of the sun" something. So they're saying it's Circus of the Sun. It's definitely a circus.

This Trickster guy conducts the show even before the presentation starts. You're already introduced to the Trickster. He's in the crowd, working the crowd, going around doing pranks on people, throwing popcorn on people's heads. He's doing all kinds of stuff, but he keeps the humor alive throughout the dark presentation. This is straight out of the book. He looks just like that, too, going around the crowd throwing popcorn and playing jokes. He even escorts some people right out, but under cover of darkness when the show comes back, you see stewards bring those people back in. He kicks people out of their seats and all kinds of stuff. He's chaos incarnate.

Now, he's a "sympathetic troublemaker." After wandering unwittingly into the world of Mystère, he decides to have a little fun. There is no mischief or irony in his actions, just naive curiosity. He is like a child who dismantles a toy to see how it works. Little by little, he settles into this new world like a duck takes to water, but his actions set in motion a series of events that threaten to ruffle the serenity of Mystère. So this is your Loki, your Enki-type god right here. He's an interesting character who appears throughout.

Other oddball denizens: Mystère is populated by a host of other lovable, surreal characters. They are oddballs, there's no doubt about it. We have the Mountain Man, which I showed you, and then Moha-Samedi, who's on the stage with the puppet. Then we have the Mountain Man, a "geological oddity craving to be human." The Mountain Man is in the entire presentation. He's always just observing things. Every once in a while, he provides support for a dangerous acrobatic move or something. But the other denizens are palm trees and frogs. Frogs are absolutely a fertility symbol, but the frogs also represent the type of creatures that were thriving under a vapor canopy.

Here's this guy. He represents an elemental intelligence in the world, based on the world but not quite human. Now, you have to understand, you're never told that the giant baby represents the sun, but everywhere in the presentation, it's doing what the sun would do, just like the girl is doing what the moon would do. You're given many hints in the books that this is solar and lunar. This guy here has a role, but he's on another sphere, and this sphere is patterned in continents and water. His role is sustenance and fertility, and he's standing on a world. He is the protector of the sun and the moon. Crowned with golden horns and a nest full of eggs, Vashlét is the protector of the two babies who waddle around in the world of Mystère. This is interesting because this introduces another sphere. Remember the clue they always drop: "Watch the ball." But there are different balls to keep your eye on.

Here's your narrator. He's supposed to be narrating reality. It's just a strange character, a strange relationship between the puppet and the narrator. Here's another ball. This is a cloudy ball. You see, it's all covered in clouds and mist. This is a cloudy ball. When the frog life forms are at their ascendant, even on the bottom, it says "frog." These are your palm trees right here. Look what color they are. I don't have to make that up; it says right there in the book, these are palm trees. And in the introduction to the video, it says palm trees and frogs and a couple of the other oddball characters are the main denizens of this world in the first act.

So, the music starts. I really wish I could show you video clips, but every time I've shown you guys video clips of presentations in my decodes, YouTube hijacks the video so they can put a whole bunch of their own commercials on it, like they did with The Matrix. Remember, I did a breakdown of The Matrix movie, and YouTube hijacked it and just spammed the whole video, absolutely packed it full of commercials.

The very first act, according to the book—the bungee acts, you got to pay attention to the details—when the actors on stage are on bungee cords suspended from the ceiling, these are acts of the divine or divine things in the sky organizing the chaos. What's really intriguing is when the music started, these creepy statues—guys wearing white robes, white hair going straight back, no expressions—they came marching out from aisles behind the scenes, from under the stage, backstage. They just marched out and took up silent positions. They had their hands in their robes and just stared at the stage. These creepy dudes... I had the distinct impression that they were there to observe something important. That's what it looks like they're there for. They're observing something with the audience.

These two people come out, a male and a female, and they do a bungee cord routine. Here's this guy right here, suspended from the ceiling, he and this girl. You've got to watch these videos. They're on YouTube, but they don't show you the whole presentation; they leave key elements out. They're only just trying to whet your appetite, but you can still see some of these presentations. In the opening act, according to the book, because they're on bungee cords, these two are doing a ritual dance that organizes an ancient chaos, and they're turning the chaos into order. What's beautiful about it is the floor looks like a kaleidoscope of broken glass, broken worlds, and so does the backdrop on the screen. Everything looks in disarray. They do this beautiful dance on this broken glass-like surface, and they're doing some amazing stuff on those bungee cords. The slides are never going to do it justice. You have to watch the videos or go to Vegas and watch it yourself while listening to the music. It's amazing.

This opening scene is them organizing the chaos. They're doing some elaborate stuff in the air; most of it is in the air. Very little of it is on the surface. Very talented. Do you see the mist coming in now? Look at all this mist, clouds, and stuff coming in. It wasn't there when they started. Throughout this whole dance, that's what they're doing: organizing the chaos. This is the chaos of the first world. Now remember, this is before the sun and moon are introduced into the show. This is the darkness, the chaos. As they're doing their ritualistic dance in the air, these creepy, tall, archon-like guys, all dressed in white... I wish we had pictures. I was not allowed to take pictures, and none of these videos show these guys, but they look like archons. They're just concentrated on what the male and the female are doing, and they're in the crowd with us. It's crazy. Such a great show.

They're still organizing the chaos. Remember, it's the book that says the bungee acts are the divine organizing the chaos. So where did the chaos come from? You're going to find out, because at the very end of the presentation, it literally tells you everything is cyclical. Therefore, the chaos that they're organizing is nothing but the ruins of a previously existing world. Look how what they're organizing is taking on more form. Down here in the bottom, this represents the world. It even looks like the world later on. The music is really dramatic as well. They're singing in a constructed language that was made specifically for this presentation, at least that's the story they're telling us. Who knows? It could be ancient. We don't know. They're way up there, organizing the chaos. It's impressive. The stills do not convey how impressive the acrobatics are. A lot of times, because you can't see the cords, it looks like they're flying. I mean, they are flying.

That was the last one of those, organizing the chaos. As soon as the chaos is organized, the archons don't move. They stay right there when the act is over, because right then and there, the sun and the moon are brought out. Here's the book: "Always keep your eye on the ball." And it shows this big old, young, curious baby. I'm telling you now, this is a newly born sun. He's the larger of the two babies: brash and confident, silly. A lot of this—diapers and a bib—this is all obiter dictum. It's nothing. The true thing to pay attention to here is "always keep your eye on the ball." So I did. This guy is in his 50s or 60s; he's even built like a ball, he's even round like a ball. But you have to keep your eye on the ball in the presentation, and the ball is what they bring out. As soon as the chaos is organized, they bring out the baby, the baby sun.

Here he is live on stage. He holds that ball. What's really interesting is that the baby sun seems to lose control of himself twice, and the ball has to be returned to him. Later in the presentation, you see that the sun is moved twice. There are really detailed symbols in here we're going to get to. He's built like a ball, and he's always around that yellow ball. That's baby sun.

Brought out with him is this little female. Now, note the snail. This snail is very small compared to one you're going to see later, but it still connotes the exact same thing. You cannot overlook this detail because of what the ancient Aztecs, the Chinese, the Toltec, and many other civilizations that I'll discuss later believed the snail to represent. This is Moon Girl, as I'll show you here in the book. They just call her "Baby Girl," the smaller toddler, but she's female. She represents a curious mind who knows no fear. Remember, he represents the idea, "Keep your eye on the ball." This is very clever how they put this together. And remember that snail is integral to understanding the time that Moon Girl was at her ascendant. If you didn't think she represented the moon, what do you think now? They brought her out with a ball just like baby sun.

This is her a little bit later, after humans are introduced into the narrative, after the chaos is gone. Primitive baby humans, these little spermatozoa right here, are coexisting with more developed humans right here. At this time, the moon is enjoying her sovereignty. There is no hint of the sun during much of these presentations in Mystère. When you see the sun, it's always somewhere far backstage in shadow. You can clearly see it if you look for it, but it's in the shadows, as if the sun is there but is being hidden by something all throughout the presentation.

One of the messages attached to baby sun is that there's a deeper meaning; it's not just a solar meaning. The sun and the moon represent two types of the human family, and I'm not talking about male and female. There's a deeper meaning here. He's actively searching for his father. He yells "Papa!" several times to the crowd and even has a flashlight where he uses light to search, calling for "Papa" over and over. This is a branch of the human family that seeks meaning and origin through a religious filter. Remember, the sun is basically the key symbol of all the ancient religions. Christianity is a solar religion.

The small baby, the curious, adventurous female—she's even introduced in the book as a "curious adventurist"—exhibits no fear and is very active. She represents the branch of humanity that sees that living is the meaning of life and that none of this is to be taken seriously. He's trying to figure out why he's here and what his purpose is, trying to shine light on all these things and attribute meaning to things that don't have it. She's going through life enjoying the show and knowing that one day it's going to be over, and that's okay. Two different types of the human psyche here.

The archons' only presence in the entire show is when the two dancers are represented as organizing the chaos into order. Once the order is established and the sun and the moon are introduced, the archons take their leave. Creepy guys.

Then, a really interesting development: at first, all these guys are way high up, and they're just descending to Earth. All these guys on poles are descending to Earth. We're told in the literature that the poles are not like the bungees. The bungees represent divine and spiritual things, but the poles are earthly. The poles have everything to do with humans. It's a totally different part of the presentation. We have these primitive humans in a pre-lunar world with no sun, existing before another race of humans is dropped from the sky. These guys coming from the pole... there are already people on stage, as I'll show in a minute. But as they're on stage beginning their dance, this whole frame drops from above and brings all these guys down from the sky to the earth.

And they are creepy, too. They're masked dancers dropped from the sky. They have a deeper meaning. They're almost like two-faced Janus: while the human is looking one way, the mask is looking another. These represent humanity who are immortals wearing masks, avatars, and they see the world totally backwards. Remember, I tell you all the time it's the photo-negative of a real reality. The masked ones in the literature are called "worms." The best reference for something called a worm that looks like a man is a human, because in the Book of Psalms, chapter 22:6, it literally says, "What is man but a worm?" There's a lot of symbolism here. This represents a type of human, and it also represents the human-avatar relationship and that things are backwards here. Remember, the literature even told us that the poles represent human affairs, while the bungees are affairs in the heavens.

What's interesting is that by the time these newer humans appeared with the masks, there were other humans already here, and they are weird. They show it—there were no pictures and no video—but they showed them in all kinds of weird costumes. It's almost like a freak show, like when Earth was on the Nemesis ecliptic, almost like when Jinn or demons ruled the world. It's just weird. It was for a very short spell, and then they brought out classical humans.

When these masked dancers show up, there are tribal totem dances going on. People are wearing condor, bird, and animal stuff. It's like totem societies, and they're going around the poles. This is when the new humans in the back, coming from the sky, arrive. The more primitive humans are doing their dances, doing all kinds of things. The new arrivals are in the back with the masks. They keep going up and down the poles like they're going somewhere and coming back during this period with these totem societies. The moon is up here, you can't see her, but she's up there walking. There's the moon, walking on a scaffold back and forth. The sun is nowhere to be seen.

Among the tribal society, though, there are these guys. In the literature, it calls them the Chinese acrobats or the Chinese poles. These guys are amazing in their acrobatics. Moon Girl is going across the scaffolding, and the sun is nowhere to be seen. She's passing across the sky during the dance. These guys represent humans that can do incredible feats that amaze the new arrivals. The new arrivals try to do the same feats and cannot. These guys can do amazing things on these poles while the new arrivals come and investigate. And there's the Narrator.

These guys are doing some heroic things on these poles. They can go from pole to pole, do flips and backflips and twists, but not the masked ones. The masked ones stay on the poles that they climb. These guys are badasses, but they're representing a branch of humanity that are earthborn. They were made here, and their bodies are perfect for the environment, and they're able to do incredible things. They are showing off, and this whole part of the show is awesome.

Then, when those guys back away, the masked ones come up to the Chinese poles. I see the Chinese poles as a way of showing culture, innovation, ingenuity, civilization. This is what's being shown. The branch of humans that was already here before these masked ones descended are just experts in this environment because this is their ecosphere. But it's all new to the masked ones. They get on the poles, they dance all around the poles. Only some of them get on there, and they hardly do anything before these other guys show back up and just clown them. These guys are amazing. Basically, the new arrivals are semi-taking on the form of the archons as observers.

Here are the masked ones going up. They don't do the acrobatics that these other guys do. They don't do backflips and triple gainers and all that stuff from pole to pole. They just do this climbing up and down, this little sinuous, ritualistic stuff. It's creepy when you listen to this haunting music at the same time. It's amazing.

Again, while ordinary humans are on the Chinese poles, which is Earth, and they're doing their thing in civilization—tribal totem societies, great physical prowess—it's the other ones in the back that keep going up and down these poles as if they're returning somewhere and coming back. These guys here make it to the apex. The masked ones attempt to, but they cannot. This guy here makes it to the top, way up here. Not one of the masked ones makes it that high, although they do get pretty high. They don't get near as high as he does.

It's almost as if they were introduced into the culture, but they remain distinct. They don't quite blend in. They're very different, and they can't get past certain heights. They can't go as high as the other ones. These are the newcomers. This is the highest masked one. Up here is one of the earthborn; he's up there at the ascendant. These dudes were really acrobatic. Here are all the masked ones. Like I said, they don't do anything from pole to pole, not like the other ones. They're still impressive, while also being creepy. While this is going on, the moon passes overhead. The sun never comes out.

So, while the dance is going on, the sun is knocked out. The sun makes an appearance far in the back shadows and is knocked out further back. The moon appears again, walking across, and fog and smoke start covering the stage and the floor. It's like a vapor canopy all over again. It's like something happens during the period of contact between this new race with the masks and the earthborn race that was already here living under the moon. Something happened. They convey that something very unusual happened, and they did it in an interesting way.

The poles represent humans and human endeavor. It's like the new arrivals are all in the back, observing, trying to figure out, "Okay, how do we fit in here?" These guys were amazing. The feats they did were amazing. And I have to remember, order has been made out of chaos. In the back, we have clouds and a vapor canopy. It's a pre-flood world setting. The entire stage is always like this. There's never a day where sunlight comes out or they mimic sunlight and clouds. It's always like vapor canopy conditions throughout the show. They're just twirling around their poles.

The moon is passing over again. I believe he represents Mars, the guy in the red suit. We're almost done with this part of the ritual. They're still dancing. It's a lot of music. Look how dark it looks, how jungle-like it looks, almost like a water world covered in vapor and mist.

If I were to venture a guess, I would say that the masked ones were the arrival of the Anuna when Nemesis X appeared and caused a pole shift. You guys, Archaix veterans, you know this as the Gushan flood of 3439 BC. When they brought these guys down on the scaffold, this was the descent of the Anuna in the pre-flood world. There's the moon again right there. The dance continues. This basically, these poles and this guy way at the top—not him that you can see, but the one you can't see at the top—represents the pinnacle of human achievement at this time period, whenever this was before the flood. This isn't just a narrative of the pre-flood world; it is a narrative of a very specific window of time when Nemesis X appeared in the pre-flood world, many centuries before the great flood.

Oh, there's a good scene of when they first arrived. When they were first coming down, there were already people down here dancing, a small community, and then the lower they got, more and more people started dancing, like the human population was getting bigger and bigger. Very creepy. But that music just made it.

Right after this scene I just showed you, they bring out two dancers, and the scenery changes. This is a really good clue as to what was about to happen or what was going on. Look how everything changes after the new arrivals get here. This is the fractured, broken, kaleidoscope world of chaos that was made into order by the two divine dancers under the archons. This is what was made, and then the sun and the moon were introduced, but the sun remains a stranger. Every time the ball comes out during all these acts, it's always on the perimeter and stays in the shadow, then it disappears. It's as if they're trying to remind you the baby is here, the sun is here, but you just can't see it during this time period. But they keep bringing Moon Girl out. She's out for all of them.

Here's Moon Girl. How do I know it's the moon? I showed you the sphere. It's the only other large object in the sky besides the sun. But the snail, we'll get to that in a minute. The snail tells me she's the moon. Anyway, here she is again. There's Moon Girl. She's out during this period. What does this look like? It looks like a greenhouse gas, vapor canopy world right there. It's even shaped like a dome. And on top of it, at the ascendant, is a frog. Archaix veterans know I've explained the vapor canopy is coming back. It's the only thing that explains all the weird stuff in the Book of Revelation and in the prophecies of First and Second Esdras. The vapor canopy is coming back to our world. In the vapor canopy period in the Book of Revelation, frogs are mentioned a few times. The frog represents a period of time during the vapor canopy when amphibians and reptiles grew to gigantic sizes. They were at their ascendant.

This is the frog. The book, this isn't Jason telling you this, the book specifically says this guy is a frog. He represents the frog. Now, here's what happens to this world. The frog is dancing at peace, doing his thing. These are denizens of the frog's world. The frog is at the northern pole of the world; that's where the frog is located, at the ascendant. The frog is doing the splits. That's a straight line. The frog holds her arms up like questioning, "What is this?" When these two females come out, the frog is taken aback. "What's going on? This is not normal." The frog represents not only that amphibians are at their ascendant, but also that the pole was at its ascendant. By splitting the legs like that into a straight line, it's basically a symbol of being at the pole, sitting on the pole, and creating a pole with your legs.

The frog is removed to the perimeter of the world, and the two girls come. These girls represent poles: a north pole and a south pole. Amazing strength, amazing feats. Look, they're on a world. It's a canopy. Look at this canopy. They are on a world. How do we know it's a world? What were we told about this guy in the book? You were specifically told that he is an intelligence of the world who wants to be human. He's an elemental. This is what the symbols are. These are poles. They're doing basically a pole dance. This is a dance symbolizing the strength and the changing of the poles. Strong girls.

Further reinforcing the fact that this is the world and that these guys are the poles is the fact that we have this guy right here, who we were told is the protector of the sun and the moon, and he is standing on a world. He's standing on another world. You can call it Venus, I guess. I don't know. Look how straight she is. Very talented. I really wish you could hear the music at the same time. These girls were awesome. Look at that. She actually lets go. Her hands are not touching. They are perfectly balanced. Oh, there it is. Her hands are not touching anymore. They are both perfectly balanced just on the balls of her feet.

See this guy back here? There's another world that gets real bright while the poles are shifting or doing whatever they're doing. There's another world that gets real bright, and the frog is removed from the ascendancy. This is toward the middle of the ritual, the middle of the show. It's conducted on a stage that looks like the world. When the participants are finished, they exit toward the back, where every one of them goes through laser lights that make them look like static digital avatars leaving the world. You can't make this up. I could not believe it when I saw everybody who was a part of this skit, all those people on the stage, when the skit's over, they exit this area over here where this light is. As they're all walking over there, whatever laser light show they walked through made it look like there were humans walking through the television set on Poltergeist. I'm like, "Why would you do that? Is that a blatant, obvious 'you are a digital avatar exiting a false reality'?"

Remember, from the very beginning of the Mystère presentation, the Trickster is introduced. He's the one that's making light of the whole situation, like, "Man, listen, don't worry. None of this is really real anyway." It just shocked me. You can imagine, guys, with my imagination, sitting there just casually watching all this, being amazed by the dancing and listening to the music, and then all of a sudden watching an exodus of actors go through a digital door. You're just like, "What did I just see?" It was so crazy.

So to me, it's like, okay, something had just happened, causing a pole shift, causing a complete atmospheric change. And it was another body in the heavens. That's what that dude is in the back, standing on that platform. He is a body in the heavens that came too close to our world. This is in the narrative of Mystère. It's right here. Remember, watch the ball. This is not the sun. This character here does not represent the sun; he represents another world. How do we know? I showed you in the beginning he's standing on something that almost looks like Earth. It has continents and oceans, but it wasn't Earth.

Since I've already associated the masks coming down in the pre-flood world among totem societies as being the descent of the Anuna, the descent of the Watchers, the descent of the Anunnaki, then I'm going to have to say that that object can only be the world of Nemesis X, which is the home world of the Anuna. When it approached too close, it caused a pole shift. These two girls represented a whole polar shift in the world. It's crazy.

So, how do we know that's an accurate interpretation, that a pole shift just happened? That's a stretch, isn't it, Jason? "Jason, don't you think your imagination kind of got carried away that that could be a pole shift?" Okay, I will grant you that. But you're going to have to answer why the very next act was another bungee act. All the bungee acts, according to the Mystère book, specifically say that the bungee acts are divine acts of reorganizing chaos. But the chaos has already been organized, right? Not if there was a pole shift. It's chaos all over again.

So the initial organizing of chaos was from the very beginning. Now we have a reorganization of the chaos because chaos is introduced by Nemesis X. We have a whole new bungee routine. This bungee routine isn't two people; it's multiple people, way up high, way higher than that boy and girl went in the beginning. They're way at the top. This was a very impressive and dangerous bungee routine that they did here. They're glowing. It's all dark; it's like the world is black now. I really wish I could show video footage without YouTube taxing me. This is all bungees on the ceiling. Remember, the bungees only appear when it's time to order the chaos. Everything's chaos now; they just had a pole shift.

So, they're here to bring new order. Why? Because this object that's just like another world just brought another population of humans here. The Anuna, the masked ones, just brought them here. But by coming too close, it caused a pole shift, changed the whole world. So they have to reorder the chaos into something that is habitable. That's what they're doing. That's not me making that up. The book says all the bungee acts are activity in the heavens that brings order to the chaos. And they're going off. Look at them. It's so much more compelling when you watch this in Vegas. It's just amazing. The videos on YouTube are pretty good; they just don't... not one video I haven't found a single video that shows it all, and they all seem to ignore the real, intense portions. I'm going to show you pictures. I actually took four photographs while I was in there. I had to risk it on the second trip because it's at the very end of the presentation, and what they show on the wall seals the deal.

All these bungees on the ceiling are the chaos being ordered. As soon as the chaos is ordered, get this. As soon as stability comes back, the next act, all of a sudden coming out of the darkness—the sun hasn't shown up—it looks real evil, too, and the music changes pitch, but the book says that they're gentle giants. Yeah, right here. They come out on stage, and the whole time I'm watching this presentation, I'm like, "Okay, we had the original creation, humans were here, there was a great disaster, the Anuna descended, Nemesis X is in the sky, there's a pole shift during a vapor canopy... Wow, the Nephilim." Because the Nephilim weren't here in the days of Adam and Seth and Enos and Mahalalel. The Nephilim didn't appear until the last half of the pre-flood world. In this presentation, they show up only after Nemesis X appears.

Here it is: the Nephilim appear, the giants. They come out on the stage. I know they have ridiculous costumes and all that, but it's pretty cool how they did this. It's this big old giant. This guy here was the creepiest; he's the first one to come out on stage. The giants came out on stage. Look how big they were. They looked like giants on stage, they did.

When the giants came out on stage, it is almost the first time in the presentation that we have an appearance of the sun. There's the big baby. He doesn't have his red ball with him like he does most of the time, but he did make an appearance. I have often postulated that there were two vapor canopies during the pre-flood world, that there was an interruption. I've said this in many presentations. I believe that it was during that interruption of the vapor canopy, about a 300 or 400-year period, that Giza was laid out, the great pyramid complex was made, and the Sphinx was carved out of a limestone outcrop. Here it is. Here's the moon and the Trickster. She's standing next to the Trickster. Another giant. Real bad pictures, I'm sorry about that. It's the lighting; they have so much lighting in there, it's crazy. That's not the Trickster, I'm sorry, that's the Narrator. He just doesn't have his puppet. The Narrator is telling the moon something, and the giants are witnessing it, and the sun goes away.

So the very next act after the giants show up—the sun is rolled out onto stage, but he doesn't enter the stage lights, he remains almost unseen. It's like he's not even an important character. This is crazy because, as you said, it's "Circus of the Sun," I thought it was "Circuit." And yet the sun plays such a minor role throughout this entire presentation. And yet maybe it's a major role because that red ball is there in almost every presentation, but it's on the perimeter, on the back wall, hidden in the shadows, almost unseen—exactly the way it would be during a vapor canopy world.

The very next act is really interesting because it's now going to represent what happened, what Nemesis X did. We just saw it was a pole shift. Now, we're going to see something that I have been telling my community for the past year. Actually, I have it in my published books from 12 years ago, but I only reintroduced it on YouTube recently. It's about the two ecliptics. Sometimes Earth is on the Nemesis ecliptic, and everything is different: ecology, food, atmosphere, atmospheric pressure, oxygen—everything is different on the Nemesis ecliptic. But we're still going around, over and under the sun, at least in the astronomical model. And then we're on Sol's ecliptic, like we are now in the model.

But in this presentation, we have the seesaw as representing the cataclysm, the chaos. Everything is going up and going down. For a period of time, when our world is shoved off one ecliptic onto another, everything is unstable. The poles go over and under, over and under. It's like the Bible says, "The earth is moved out of its place." The seesaw is a perfect symbol for this. Here's the moon again, right here, not the sun. There's the strong man who represents the spirit of the earth that wants to be human, and here's the guy who is the protector of the sun and earth, who represents a world that looks almost like Earth. They're all dancing.

And then the seesaw act. The seesaw act is really compelling because the seesaw is a symbol of things turning upside down, going up and down. It's chaos. But what they bring out onto the stage and then start doing during the seesaw act reinforces the idea that the entire ecliptic of the pre-flood world is changing. Watch this seesaw act they're doing.

There's the moon. She's one of the first ones to go up. The moon is one of the first ones to act strange. The moon goes up, and then they bring this long stage out. All of a sudden, this is like an ecliptic line as they're doing the seesaw here. They've got guys doing a seesaw act, and then they've got this guy that probably represents Mars, followed by the moon. The moon goes along that ecliptic trampoline, doing a bunch of flips back and forth like she can't decide where she wants to be, and the seesaw keeps going.

Then they change the stage and move it completely perpendicular to the other stage, like two different ecliptics crossing each other. Everybody changes position and now starts to run on the other trampoline. All the while, the seesaw is still doing its thing. The seesaw act continues all the way until the end, when the moon is at her ascendant. The moon takes her new place on the new ecliptic trampoline. The acrobatics are amazing. I don't even see how they do that stuff, all those quadruple gainers and all that. It's crazy.

These aren't quite in chronological order; I just did them so you could see some effects. But when I was watching that, right after the pole shift routine, you had the giants come out. Then all of a sudden, the sun only comes out for a second, then it's gone. Then the moon comes out for a little while and is the first thing to go super high on the seesaw. Then the moon is shoved onto the trampoline, but the trampoline is going one way, then followed by Mars, then followed by other dancers, and they do their thing. Then, all of a sudden, the whole trampoline shifts and changes direction to now be perpendicular, and the seesaw act continues and gets crazier and crazier with more and more flips. You get this idea of total, absolute celestial chaos until the moon smiles, holds her arms up, and it's over with. The world and the moon have assumed a new place.

I know there are some of you that think, "Jason, you just have a high-octane imagination. Not everything is related." Okay, that's all good. But I'm going to need you, the critic, to explain the very next image on the wall. Because throughout a lot of this presentation, you see the moon in the sky when Moon Girl comes out, and you see the stars, and they're all magnified just like in a vapor canopy. You see fog and clouds everywhere. The sun is hardly ever around. But what do you see in this picture? I had to steal four pictures myself because no one would believe me. What's that red thing? What is that? That is not the sun. How do we know? Because those are stars in the sky.

I took pictures, but it doesn't convey it. You have to understand, this red world started over here and it moves, and then it gets smaller and smaller and smaller as the act continues, and then it disappears. So, this is a major sign, a huge indicator that this entire ritual has everything to do with celestial mechanics. I'm going to have to stick with my interpretation that those trampolines were ecliptics and those were celestial objects—Mercury, Mars, Venus, Jupiter, and Uranus—moving and changing positions with the sun and the moon. Then they all got on a different ecliptic because the position of our world changed. And when all the chaos and destruction was over and the moon raised her hands, now in a new spot, whatever the intruder world was faded away and disappeared.

My Archaix veterans know the Nemesis X object appears, and it's here in our skies for 60 years at a time, and then it disappears for 732 years. When it returns, it completes its 792-year cycle. But in that 792-year cycle, it's always here for 60 years, and it's called the Ferry. That's what Zecharia Sitchin called it. It's called the Ferry because it ferries our world from ecliptic to ecliptic when it comes and when it goes. During those 60 years, it's a long time. New life forms are created during a vapor canopy, new atmospheric pressure, everything. Giants are all born during this period. Listen, 60 years is a long time when the world is under totally different conditions.

So, this amazed me when I saw that. I couldn't believe it. It's like, "Wow, look at this. This thing moved across the screen and then faded away and disappeared in the show." And not one time in the show—this is what gives it away, too—when you have a very elaborate show and a published book that goes with it as a cipher to help you decode what's going on, and yet one of the most enigmatic things that you show in your presentation, you don't even mention. You don't even have a descriptor anywhere in the show. Does anybody tell us what that red world represented and why it disappeared? That's a real good indicator that it's probably the subject matter of the entire presentation.

Oh, we're not done. The red world could be a combination, a dual symbol for Nemesis X and for the Phoenix. We know they both appeared in 522 together, and we know that they're both from the Nemesis system, which is very close to ours. So, it could represent Phoenix. I say this because of the vapor canopy conditions that are shown, the presence of the giants, which is a Phoenix phenomenon caused by volcanism, ambient radiation, and increased atmospheric pressure—the right conditions. Then we have gigantic fruits and plants in the show, the Phoenix palms.

But the show has a theme to it, and that's goddess veneration, the giant snail. How many of you knew that snails were symbols of the goddess? Honestly, how many of you knew that a snail is a symbol? It's a lunar symbol, but it's also an ancient symbol for the goddess.

Right after that red world leaves, when they change the stage, the next scene that comes out is the sun. They did a clever way of bringing the sun out. They have a huge spotlight on the sun. There's the moon by herself on the stage, but the sun is right here in this weird little golf cart thing. The sun's in here, and he's going across the stage. He just passes by one time. He's still in a bright spotlight, and he passes by in a golf cart, which is a modern chariot. Our predecessors believed the sun was a chariot pulled by horses across the sky, a fiery chariot. That vehicle symbolizes the solar chariot. Only after Nemesis X is gone, only after the Phoenix is gone, does the sun come out, and it's bright, and it moves fast across the sky. That's the very next scene, the solar chariot, and it's really close to the absolute end of the show.

The end of the Mystère show, according to the book, is right here on this page. It says what you see at the end scenes represents the beginning. It says, "The journey of life comes full circle with the Tao drums calling on all humanity to join forces. The thunderous drum sequence in the finale echoes the show's opening sequence, a testament that time is not linear, for the future is built on the foundations of the past."

So what do we see? They bring out this gigantic snail after Nemesis X disappears and the sun comes back for a short period of time, very bright. They bring out the snail at the end of the show. It's the biggest object ever brought out in the entire show. The snail represents both the goddess and the moon. It's a big old snail. It's the end of the show. There are giants on the side over here and over there, and giants in the back over there. But this is the antediluvian symbol for the goddess and the moon: the snail.

It's really interesting that old circuses and old fairgrounds have been employing this symbol for a long time. This is an old picture from the turn of the century. In Aztec mythology, the moon god, Tecciztecatl, is sometimes depicted as a snail or a conch shell. The spiral shell was seen as representing the moon's phases and cycles. Many specialists in epigraphic studies have also noted that the spiral designs in the Mediterranean, in the British Isles, and in Ireland, found on megaliths, dolmens, and cromlechs, represent the moon or moon calendars. In some European folklore, snails were believed to be more active during a full moon, so this led to associations between snail behavior and lunar phases. Ancient Chinese mythology includes references to moon snails, which were thought to be able to capture and reflect moonlight in their shells. Native American tribes had stories connecting the spiral pattern of snail shells to the waxing and waning of the moon. Medieval European alchemists sometimes used snail imagery in connection with lunar symbolism, as both were associated with moisture cycles and transformation. Basically, the little silvery trails left by slugs and snails when they pass over the ground were considered to be captured moonlight. Isn't that interesting?

So, in the beginning, before the chaos was ordered, the Trickster was already planning. The chaos was the result of something cyclical. But the chaos was organized, and the new sun and the new moon appeared. Early humanity was divided into two groups: those seeking their own origin in the sun, seeking an explanation for their existence in the religious, and the other group, which saw that this life was an adventure and that the meaning of life was living. The appearance of these two branches of humanity was witnessed at the beginning by the archons. In this beginning, the sun was moved twice, and afterward, the moon first appeared after humanity was already here. Humanity in the beginning had been dropped from the sky wearing the masks of avatars, two-faced beings seeing reality as backwards. They thrived in a period before the sun appeared, when the moon rode high in the sky. In a vapor canopy world, a pole shift occurs, and the ecliptic is changed as a dark red object appears in the sky and the worlds and the stars change position. In the cataclysm, humans make their exit through a digital portal. The giants appear, as well as a new type of humanity in a time of the goddess, when the moon was at its ascendant and the sun was a stranger, unseen.

This show was performed in 1993, long before any of the Archaix research was ever conducted. But that's not all. Because when you go to the Mystère show at Treasure Island and go to the concierge desk, they push another show on you. It's called Awakening, and I have to show it to you. That's the Mystère show. This book is Awakening. I'll show it to you in a minute. I had to go to the Wynn in Las Vegas to watch it, but they push this show on you and say, "Hey, if you like Mystère, you have to go watch Awakening." I'm like, "Okay, I'm a sucker. I'll do it."

I watched Awakening. When you walk into the show at Awakening, there's a display case that shows this. You can't not see it. It's a display case that shows this shadow mask. It says, "Phoenix Tribe of something. Shadow Warrior Mask. Phoenix Tribe Ceremonial Relic. Penumbra Era." Penumbra, that has everything to do with the darkening of the sun. You can't make this up. "Water Realm Crystal. Phoenix Tribe Ceremonial Relic. Penumbra Era." The sky was dark; that's penumbra. "God of Light. Phoenix Tribe Ceremonial Figurine. Penumbra Era." There he is right there, pre-flood vapor canopy guy. "Goddess of Darkness. Phoenix Tribe Ceremonial Figurine. Penumbra Era." This is Awakening at the Wynn. What is this? "The Great Phoenix. Phoenix Tribe Ceremonial Figurine. Penumbra Era." This is the show they try to get you to watch if you go watch Mystère.

The stage is totally different for Awakening. At the end of the show... listen, there's all kinds of Matrix-like, "we're living in a construct" type stuff that's shown during this show. I'm not going to do a full presentation on this show; you just have to go see it. But when I was watching it, I was literally watching... basically, the world is a construct. It's being pieced together. The main character is Io, a female named Io, and she sets out on a mission. The end of the show is the revelation of the Phoenix. You can't make this stuff up. Look at that. I got so many pictures of this Phoenix. I just sat there and took a bunch of pictures. A light show with the Phoenix. It's turning 360 degrees before the show ends. Like I said, guys, you can't make this stuff up.

That's the other show in Vegas that I went and watched. It blew my mind, but the main one I wanted to do a presentation on was Mystère. It's amazing. Like I said, I was a Southern Baptist Christian in 1993. I would have never agreed with anything that I just told you in this presentation right now. It's crazy. Absolutely crazy. It's Phoenix. Here's this book. I bought all the books to the shows. Here's the book for Awakening. It has a little story synopsis. It's pretty cool. It shows you everybody who's in there presently; they probably publish it every year. It's got pages and pages of names of actors and actresses who participate. They're from all over the world. They're not just Americans; they're from every country you can imagine. They're pulling talent from all over the world to do the things they do. It's amazing. Absolutely amazing.

I'm not sharing anymore. It just blew my mind that this main feature of a world that caused the changing of the ecliptic, which is shown in the dance, which caused the pole shift, which caused a vapor canopy, which brought giants here and all that—this main thing that they're showing on the screen in the night sky close to the moon that's going away and disappearing before the sun comes out in a chariot—the main thing is that there's not a clue anywhere in the narrative or in the book telling you what that is. So crazy. I love it. I loved it, man. It's awesome. I'm going to go watch it again, I promise you.