The Rejected Notion

It’s 2026, and K-Pop and its idols have finally decided it’s time to go all out; it’s time to be fully initiated into the occult realm of entertainment that Hollywood music has been participating in for over the last 100 years. And when I say all out, I mean Jennie from BLACKPINK dropping a song titled “Fallen Angel”; no nuance, no esoteric wording, no crafty double-speak, just saying it how it is.

For those unaware, the concept of the Fallen Angel comes from the book of Genesis, Chapter 6:1-4, which states, 

“Now it came to pass, when men began to multiply on the face of the earth, and daughters were born to them, that the sons of God saw the daughters of men, that they were beautiful; and they took wives for themselves of all whom they chose. And the Lord said, “My Spirit shall not strive with man forever, for he is indeed flesh; yet his days shall be one hundred and twenty years.” There were giants (nephilim) on the earth in those days, and also afterward, when the sons of God came in to the daughters of men and they bore children to them. Those were the mighty men who were of old, men of renown.”. 

These sons of God, or Bennai-ha Elohim, were members of God’s Divine Council, a spiritual group of beings that assisted God and communicated with Him. They are also mentioned in the book of 1 Enoch, which, although not part of the Canonical Scripture of the Orthodox Church, has been deemed a good read by the Church as a historical text. In 1 Enoch Chapters 6-8, these sons of God are called Watchers, and the human women looked good to the spiritual beings, the elohim, the watchers, whatever you call them. According to 1 Enoch, they exchanged knowledge of esoteric spirituality, forbidden technology, metalworking, root working, and other previously unknown skills to human men so that they could get together with these human women. They eventually have offspring, and these offspring are known as the Nephilim, or in those days, the men of renown or the giants of ancient times. The term Elohim means “spiritual being,” and there are many Elohim, but the Trinity is the Elohim of Elohim; he is above the creation of the earth and the spiritual world. Now, some of these Elohim are messengers, also known as Angels; being an angel or a messenger is a job. This is where the misconception of fallen angels comes from, where people believe all spiritual beings in heaven are angels; this is not the case. All Angels are elohim, but not all elohim are Angels. Every elohim has a specific job within the Triune God’s divine council. However, throughout the ages, the term “fallen angel” has been used to describe the Genesis 6 rebellion and, specifically, the fall of Lucifer from heaven. The term “Fallen Angel” is more of a pop-culture term for this rebellion than a theological one. Still, when used in a secular context, Fallen Angel refers to this Genesis 6 rebellion or the fall of Lucifer. For more information, I would highly recommend reading Dr. Michael Heiser’s book “The Unseen Realm” and Father Stephen DeYoung’s book “The Religion of the Apostles.”

Now that we have some context for the title of her song, I want to look at the lyrics first. Although not very deep and highly repetitive, we can grasp the general meaning of this song, which the music video provides further context for:

“[Verse 1]

Feel the breeze in my fingers

Out the window

Close your eyes and I’ll take you

Where the wind blows

[Pre-Chorus]

Tell me where I’m going

I’m searching, I’m searching, I’m searching

For a love

I’m searching, I’m searching, I’m searching

But you’re gone

Without you is no fun

[Chorus]

Hey, can’t you stay?

Don’t leave a fallen angel out here on her own

Find a place

Wherever we land is where we turn into a home

Can’t you stay?

Don’t leavе a fallen angel out herе on her own

Find a place

Wherever we land is where we turn into a home

[Post-Chorus]

Home, home, home

(Turn into a home)

Home, go home

(Turn into a home)

[Verse 2]

Steal me just for the night

We’re falling into the sky

Watching you light up

Let it burn forever

And you wanna keep

A piece of my love

That nobody could touch

It’s you that I want to

[Pre-Chorus]

Without you, these wings are of no use

Been searching, searching for you

Take my hand and run

[Chorus]

Hey, can’t you stay?

Don’t leave a fallen angel out here on her own

Find a place

Wherever we land is where we turn into a home

Can’t you stay?

Don’t leave a fallen angel out here on her own

Find a place

Wherever we land is where we turn into a home

[Post-Chorus]

Home, home, home

(Turn into a home)

Home, go home

(Turn into a home)

[Bridge]

Don’t, don’t wanna go

Don’t want you to leave me

Don’t, don’t wanna go

Don’t want you to leave me

Don’t, don’t wanna go

Don’t want you to leave me

Don’t, don’t wanna go

Don’t want you to leave me

[Chorus]

Hey, can’t you stay?

Don’t leave a fallen angel out here on her own

Find a place

Wherever we land is where we turn into a home”

From the lyrics, we see the artist, Jennie, is claiming to be a fallen angel who is lonely, doesn’t want to be alone, and wants to find her home in the love of someone else.

Now, as we get into this video, we must understand that this music video is a story of Occult Illumination, esoteric initiation, and ultimately, a Luciferian narrative based on the alchemical concept of the Great Work, also known as The Magnum Opus, found throughout occult traditions such as Hermeticism, Ceremonial Magic, and Thelema. The home she is searching for is within herself through the process of the Great Work. This is a story about learning how to love oneself even in the midst of loneliness.

In Alchemy, there is a process known as the Great Work, which Alchemists believe many individuals go through, and it has four stages. Stage one, Nigredo (blackness, death, and the end of the old life), stage two Albedo (whiteness, cleaning or purification), stage three Citrinitas (yellowness, awakening and new understanding), and finally Rubedo, meaning redness, where everything that was learned in the prior stages is brought together to make the person one whole synthesized being. This stage of the final Great Work, the redness, is then symbolized through red objects and symbols such as blood, a phoenix who rises from the ashes and is reborn, a rose, a crowned king, and, of course, the color red itself, and can at times be combined with the prior yellow stage. This is the narrative outline of the entire music video for Jennie’s occult alchemical transformation, paired with these exact symbols throughout the video to illustrate the transformation; keep these in mind for later. In this video Jennie is being alchemically transformed through initiation into higher levels of knowledge eventually embodying the archetype of Lucifer, the light-bearer, the Fallen Angel.

Through the Great Work, the goal is to turn the negative into the positive through transmutation; one can learn about, and in essence become, the philosopher’s stone, which symbolizes enlightenment that leads to a spiritual path forward and ultimately saves the soul from unconscious forces working against it. The Great Work is a path towards self-transcendence through the discovery and integration of unconscious behaviors, personality traits, and egos into the conscious self, to make the chaos of fragmentation one within the individual; it is, in Jung’s psychological terms, Shadow Work: making the many one.

According to Eliphas Levi, a ceremonial magician, “The Great Work is, before all things, the creation of man by himself, that is to say, the full and entire conquest of his faculties and his future; it is especially the perfect emancipation of his will.” In Aleister Crowley’s Thelema, the Great Work brings about mystical union with the Self and the All by implementing the True Will in one’s life, as expressed in his founding motto, “Do as Thou wilt is the whole of the Law.” Crowley states, “The Great Work is the uniting of opposites. It may mean the uniting of the soul with God, of the microcosm with the macrocosm, of the female with the male, of the ego with the non-ego.” Through this self-realization brought on by the Great Work, a person can create a hermetic vessel that creates a safe space within ones self to work towards the Great Work, where transformation can take place and the “inner heat” that is caused by thinking of oneself and dealing with psychological problems leads to the rebirth of the Great Work, where the hidden self is done away with, old thinking is done away with. One can find their true identity, realizing they are both human and divine.

And this music video from Jennie is the story of the Great Work within herself: her occult enlightenment and initiation into higher levels of Luciferian knowledge through the stages of the great work.

Jennie is the archetypal retelling of the Fall of Lucifer, the Fallen Angel, as found within oneself. The journey of the individual who has fallen, like Lucifer, and has worked through the stages of rebirth to be brought to enlightenment, to be the one who is the Light-Bearer to all those who have not yet been initiated.

We dive into the opening scene of the music video, where Jennie is depicted as a small child in a window, representative of the inner child, the innocence of spirituality, and ultimately, the alchemical divine child. She is the symbol of promise to her fanbase as an Idol whom her fans adore and trust, and these fans are represented by the goose sitting next to her.

In Asian cultures, particularly Korean culture, the Chinese goose represents loyalty, specifically in love and marriage. These birds are known for their dedication to staying together as a pair for the entirety of their lives. She is symbolically telling her fans she loves them and wants them to stay with her. The more esoteric symbolism of the goose within Taoism and the Chinese Divination text, the I Ching, has the goose representing the Yin and Yang, as the geese fly south and north for migration, the cold and hot, the ascent and descent of flight, yet through it all they always stay bonded together, male and female; and in the I Ching, the geese’s slow migration patterns are representative of the slow inner transformation and discovery of individuality in each person; an Eastern version of the Great Work.

The child then states, “Human greed has made them grow so heavy.” What she does here is separate herself from humanity. She is speaking as an other, an outsider, observing humanity, and soon talking to the goose, telling her human fanbase to heed her words.

Then, as the camera zooms out, we see she is surrounded by cartoonish single eyes, all watching her. The greedy humans she is discussing are not in these weird houses with eyes, but are living in the apartments that surround her, while she resides in the city of the other, with god-like eyeballs seeing and observing all things. What is being established is that this child is not human; she is other. As a child, living in a town separate from the apartment buildings behind her, she realizes that she does not want to be like the greedy humans, but wants to fly away towards freedom, to liberate herself from the greedy culture of humanity, and she promises her fans that she can show them the way as well.

As the zoom-out continues, she turns to her Chinese goose and states, “But little one, close your eyes as I do. We can still fly. Free as can be.” She is promising her human fans, represented by the goose, a path of enlightenment from the fallen, greedy human world; how so? She is the goddess or idol to show them out of the darkness of the current world; she is the light-bearer; she is the archetype of Lucifer. This is the nigredo stage, the darkness, the death and decay of the world which one longs to be free from. She starts her journey into the Great Work here, and promises her fans that if they do as she does, they can be free as well. She is Lucifer, the Fallen Angel, who, as Prometheus did, brings intellect and knowledge to humanity, freeing them from the fallen prison planet established by the Triune God.

After this opening scene, many will be tempted to yell, “ILLUMINATI,” simply because of the multiple all-seeing eyes surrounding her, which, yes, it might be that. Still, in reality, the Illuminati is not an organization, though it did exist at one point. The Illuminati is an ideology; the Illuminati is a set of beliefs that run across many organizations and elite figures who have determined how the world should be run and the path of enlightenment that humanity should take; and the inspiration for how the world should be run, of course, is ancient occult sources. What we must realize from the offset is we are not dealing with simply the Illuminati, or the Freemasons, or the Global Elite – we are dealing with religious and spiritual philosophy from esoteric traditions that go back further than any one organization; we are dealing with the illuminati as a philosophy – as the ones who believed they have been illumined to the truth of the world and spirituality through esoteric knowledge. These are the esoteric traditions that all of these groups, whether they be the Freemasons, the Alchemists, or even Jungian psychology, adopt as their own, modify to fit their needs, and create their own groups and practices centered on ancient occult sources to bring spiritual and physical illumination to humanity. These ancient sources, practices, and rituals that each group claims as its own are nothing more than repackaging the same material to fit different cultural contexts. So what is the common thread tying them all together? It is the esoteric knowledge given to humanity during the rebellion in Genesis chapter 6 by the fallen divine beings, who traded it for human women.

As the scene changes, she is thrown from the sky into a floating state above the waters of a lake filled with geese watching her; her fans give her their attention and devotion as she begins her Great Work. The geese are formed in a ritual circle to provide the energy transfer necessary to launch her into the next stage of the Work, the stage of Albedo, the stage of cleansing and purification represented by the color white. She hovers above the primordial waters of rebirth, the birthing waters of Mother Nature, where her initiation into the Alchemical great work will begin. Paired with the lyrics of her song, it truly looks like she is falling into the sky. Falling into the sky is symbolic of the duality of failure: rather than falling into destruction, as most believe, she falls into the sky, where God resides and where knowledge and hope are found. Through her failure of falling, she actually succeeds, she gains knowledge and enlightenment. This is similar to the occult view of the rebellion in Genesis 6, that through the fall of the angels and of Lucifer himself, humanity was brought towards the sky, bringing them to a further knowledge of godhood. Falling is now an act of liberation, an act of freedom, thereby justifying the angels in their rebellion rather than condemning them for their actions.

As she awakens, she finds herself no longer floating but now immersed in the waters below; the baptism of initiation into the Great Work has taken place; she has been born again and initiated into higher levels of esoteric knowledge, walking down the alchemical path of transformation, her old dark self done away with. The new cleansed self is brought forth, ready to receive the instruction of the Great Work. Yet, this is just the first of her multiple rebirths.

It then begins to rain on her, and once again, this shift in environment is symbolic of the male waters, which are active and falling and fertilizing, which are being received by the body of water below, symbolic of the female energy receiving the male rainwater from above unto herself, which then submerges Jenny again into another baptism of rebirth in the waters of the Mother. She has just gone through the ritual of male and female powers, of duality becoming one, to bring new birth to the Divine Child which Jennie represents. She then wakes up from the baptism, lying on a bed, dressed in red, surrounded by roses, with a picture of a monarch butterfly next to her and flaming black cubes on her fingers.

As discussed before, the Citrinitas (yellow) stage and the Rubedo (red) stage are often merged or even skipped. In this case, they are merged into a gradual unfolding of her inner divinity and accomplishment of the Great Work, as will be seen shortly. The work of the male and female energies with the lake and rain brought forth their divine child, mythologically known as Mercury, Hermes, or, in Alchemy, the Philosopher’s Stone, which Jennie has now become; the Great Work has begun the path to its completion. Through self-enlightenment and the Great Work, the symbolic Philosopher’s Stone she has become grants eternal life, knowledge, and the power to transmute reality, to reach perfection. She has been set on the path towards full enlightenment, as symbolized by the red rose, which, as discussed in the introduction, is a symbol of Rubedo and will now play a central role within the imagery of the music video.

The Monarch butterfly, sitting in a frame next to her bed, in the Occult, also symbolizes death and rebirth; hatching from an egg, a baby caterpillar is born into the world, eventually turning to a cocoon, and then being born again as a new creature with wings that can fly high above its old nature; a rebirth that leads to higher levels of knowledge and self-actualization. The Monarch butterfly is also used within MK Ultra programming as a trigger and recall mechanism, but that is for another video for another day, so I digress.

And lastly, on her fingers are flaming black cubes. The first symbolism here is that the black cubes have been stabbed with her fingernails and set on fire; the nigredo self has been sacrificed, done away with, and set on fire to bring new birth from the ashes. It also has connotations often associated with Saturn worship, as seen within the black cubes of Kabbalistic Judaism representing Saturn’s home and the earthly realm as a six-sided cube, the Kabbah of Islam, or within Alchemy and Gnosticism, the black cube used as a representation of the evil physical world. This prison planet is painted black, representing the weight and darkness of the world that needs to be transcended through the Promethean flame of knowledge and refinement. The black cube represents her old self being sacrificed, and through the sacrifice, the flame transcends to new heights of self-knowledge and divinity, represented by the red roses and red dress.

She has blossomed into the Great Work, has been born again into a new light, and, through sacrifice and refinement, has conquered the physical, greedy world of humanity through knowledge by transcending it. And now those same rose vines from the bed make a path for her to follow.

And as the rose vines are followed into the next room, they lead to a hole in the wall that lets in light. And as she stares at this light, a butterfly flies in through the hole into the room she is in. This means rebirth; new life is on the other side of the wall. As Jennie walks up and looks into the hole of light, she sees butterflies fill her eyes, and the walls begin to crumble and break down; the illusion of the physical reality is breaking, and as this happens, a shining yellow light beams onto one of her eyes. Here we see the combination of the Citrinitas (yellow) stage with the Rubedo (red) stage. The yellow light flashes over one eye, representing the spiritual awakening that leads her into the full Rubedo stage to complete the Great Work.

The wall begins to shake and eventually crumbles; she lets her hair down with confidence, representing a carefree, do-as-thou-wilt liberation, and walks into the new realm that has been opened to her, surrounded by butterflies as she runs through the fields. She then runs back into the house from the fields, showing her new ability to traverse both the old and new self, the ability to explore the old physical and new spiritual worlds at her own command. As she walks back into the physical world after achieving her spiritual awakening, she comes upon an arched door which opens to a sky full of fireworks. She enters the arch, which in the occult, mythology, and Freemasonic teaching, arches are seen as an entrance to liminal spaces, a portal from the physical realm into the spiritual realm, and Jennie, with her new power to traverse the physical and spiritual worlds, faces backwards, and falls into another body of water, this time leading her to fall deep into the body, with one eye covered and the other showing, reemerging to a new world of black and white, a world that is still stuck in duality and has not yet transcended it.

She has now reached the point of Enlightenment; she has achieved The Great Work, and now returns to the world of humanity, to the world where her fans reside, to pull them out of their greed, ignorance, and dualistic thinking. This is a world that has not yet received the Luciferian and Promethean flame. The black-and-white material world is shown to us through the relationships of three couples, with the first couple in a room with artwork and butterflies on the wall. In this room, a beam of light shines on a couple, embracing each other, showing that the true light of enlightenment is to embrace both sides of duality to achieve the true light, seen by a literal male and female couple embracing each other; yet eventually, the embrace is undone, leading the girl to sadness. The second divine light that Jennie, the light bearer, shows is that of a couple in an argument in reverse to bring them back to before the fight. And thirdly, a couple is seen arguing in reverse to where the woman leaves the room, and with one eye, the man looks at the camera. We are shown the greed of humanity on display within these couples, the selfishness of dualistic, but with the twirl of Jennie and the flapping of butterfly wings, color is brought back to the shot.

Which then cuts to Jennie in a room full of blue roses, frozen inside cubes of ice, as she opens the curtains and walks through them, representative of pillars or a spiritual threshold. From an Occult and Freemasonic philosophical worldview, the two pillars are believed to stand at the sanctuary entrance of King Solomon’s temple. According to Freemasonry, they represent dualism, the balance of light and darkness, male and female, physical and spiritual, the balance of the opposites, perfection as the Occult believes, and through these pillars one is initiated into the mysteries of the universe and begins the path to enlightenment. Once again, these pillars serve as an entrance into the spiritual world through ritual, using visual cues that symbolically mirror the concept of spiritual thresholds or portals. Through this portal, she watches over the apartments that she was first seen in the middle of as a child. The blue roses, according to Jennie herself, are representative of the blue roses that her mother gives every year on her birthday; I’ll give her the symbolism on this and not assume it has any deeper meaning. Yet all of the roses are trapped in ice, which symbolically represents something frozen in time, a memory or person she does not want to lose, suspended in time. Let’s pray it’s not another coded symbol for a Kanye West Donda claim to fame. Moving on to the apartments she is gazing at, in the four windows we see a couple in each of the three windows, embracing one another, and in the top-left window we see a goose again. This reinforces the idea that a goose represents her fans and humanity, and that Jennie is the light-bearer for her fans who are stuck in a dark, depressed world.

The lights then turn off, and a young child walks up to Jennie, holding a candle, and gives it to her. Jennie is now the archetype of Lucifer; she is the enlightened one, the light-bearer of the flame of knowledge, and has become the source of wisdom for humanity. After she is handed the candle, showing she is now the one bearing the light, the flame of Prometheus, the scenes that follow flash back to the couples that were shown earlier arguing in black in white, the world of duality and greed, to now a world where each couple has the candle, the light of Jennie, in between each of them, and this candle has brought color and happiness back to each couple. Jennie has brought the Promethean light of knowledge to humanity, freeing them from the greed and chaos of the created world.

The light then disappears, and as the candle reappears in the scene, there is a young child, hooded in a red mesh head covering and wearing a Christian clerical gown, with wings on their back, reaching for Jennie’s hand, leading her to a group of children dressed identically, and behind them, a house is burning. These children, or we can say fallen angels, are now welcoming Jennie home, singing the chorus of the song, but not to the home she used to know; the home she used to know is on fire. They are bringing her towards the flame of her home, which was a result of the Great Work she pursued. She walks through the group of children in religious garb, only to reach the house, where she pushes the door open.

To her surprise, inside a wicker egg are Jennie’s adult self and her younger self, with both of them wearing crowns of thorns that run through their braids. The adult self has her eyes closed, with her arms crossed on her chest, while her younger self speaks to the audience, saying, “Thorns may be the sharpest, fiercest thing on this earth. And yet, they bloom into the world’s most beautiful roses. Right now, we’re all those roses.”

And this Wicker Egg, with the Egg symbolizing rebirth across ancient cultures and occult traditions, and also symbolizing the geese throughout the video, is the Alchemical Vessel, as discussed earlier. Through self-realization, Jennie creates a hermetic vessel that creates a safe space within ones self to work towards the Great Work, where transformation can take place and the “inner heat” (as seen in the flames that burn away the wicker egg) that is caused by thinking of oneself and dealing with psychological problems leads to the rebirth of the Great Work, where the hidden self is done away with, old thinking is done away with. One can find their true identity, realizing they are both human and divine. And the fact it is made out of wicker, which in the film “The Wicker Man” and in historical records were used by the Gauls for human and animal sacrifices, reinforces that those inside, the old self and the young self were sacrifices to bring about the Luciferian Archetype rebirth of Jennie. The Wicker Egg that goes up in flames symbolizes the Phoenix, the dead rising from the ashes, the old being born again through fire. 

In this scene, we see that the Great Work has been completed. Through the hard work and thorns of self-sacrifice, of completing the growing pains of the Great Work, Jennie has been reborn, blooming into the Luciferian intellect offered to all of those willing to pursue it. The dead version of adult Jennie represents the old self, the death of the old king who used to rule, symbolized by the crown of thorns, which also raises questions of anti-Christian messaging as well. As Periclesus, the French Alchemist, states, “he who finds this child finds all.” The young child, still alive and functional, is the Divine Child, something recovered and born anew that has resulted from the death of the Old King and a retrieval of a part of the self that is lost under the Old rule. What is being communicated is that Christ, the one who wore the crown of thorns in the ultimate form of self-sacrifice must be done away with; He is not the divine child that will bring healing to humanity. The true divine child is yourself, the version of yourself that pushes through the pain of self-actualization and the Great Work to bring about freedom and liberation from the rules of the universe to instead embrace the Luciferian intellect of self-deification.

The third Jennie, looking at the dead old and the young new, is the Philosopher’s Stone, the one dressed in red, the Rubedo light-bearer that is able to look upon both sides of herself, see completion, transformation, and integration of both versions of her past self.

As the video concludes, the final shot pans to the new Jennie, walking towards the young girl, which now the audience is seeing from a first-person perspective, insinuating we are now the little girl, and closes her eyes, bringing us back to the opening lines where the young Jennie states to her goose, saying, “But little one, close your eyes as I do. We can still fly. Free as can be.” The newly enlightened Luciferian Light Bearer promises rebirth if we follow her and do as she says.

Make of it as you will. This is all speculative, and I am not saying that my opinion is the correct one. However, I am pointing out the symbolism and messaging utilized in this video, whether the creators were aware of it or not. There is the possibility that this was all just a big artistic piece that pulled inspiration from occult sources or other artists without knowledge of its background to make an edgy music video, but who really knows.