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Depiction of the demon Belphégor, from J.A.S. Collin de Plancy, Dictionnaire Infernal, 1863

Belphegor (or Baal Peor, Biblical Hebrew: בַּעַל-פְּעוֹר, romanized: baʿal-pəʿōr, lit. 'Lord of the Gap') is, in Christianity, a demon associated with one of the seven deadly sins. According to religious tradition, he helps people make discoveries. He seduces people by proposing incredible inventions that will make them rich. According to some demonologists from the 17th century, his powers are strongest in April. Peter Binsfeld (ca. 1540–ca.1600), the auxiliary bishop of Trier and a witch hunter, wrote that Belphegor tempts through laziness. According to Binsfeld's Classification of Demons, Belphegor is the main demon of sloth in the Christian tradition. The anonymous author of the Lollard work, The Lanterne of Light, however, believed Belphegor to embody gluttony rather than sloth.[1]

Belphegor derives from Baal-Peor, a Baal worshipped at a high place in the Heresy at Peor, to whom the Israelites were associated in Shittim (Numbers 25:3) and who was associated with intemperance and orgies. He was worshiped in the form of a phallus. As a demon, he is described in Kabbalistic writings as "the one who quarrels", an enemy of the sixth sefira, Tiferet "Beauty". In stories where he is invoked, he bestows wealth, power to make discoveries, and the ability to create fantastic inventions. His role as a demon was to sow dispute between people, and to lead them to evil through the distribution of wealth.

Belphegor by Jean Jacques Flipart

The palindromic prime number 1000000000000066600000000000001 is known as Belphegor's prime, due to the superstitious significance of the numbers it contains. Belphegor's prime number consists of the number 666, surrounded on both sides by thirteen zeros and finally one one.

According to De Plancy's Dictionnaire Infernal, Belphegor was Hell's ambassador to France. As a result, his enemy is Mary Magdalene, one of the patron saints of France.

Literature

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The novella Belfagor arcidiavolo by Italian diplomat Niccolò Machiavelli was first published in 1549, and regales how the demon comes to earth to find a mate.

Belphegor figures in Paradise Lost by John Milton.[2]

Belphegor features in three narrative poems by Jean de la Fontaine, published in his 17th-century anthology Contes et nouvelles en vers (English: Tales and Novellas in Verse). Drawing from Machiavelli's Belfagor arcidiavolo, this satirical poetic cycle includes the eponymously-titled Belphegor, followed by La Clochette, and Le Glouton.

According to the 1818 Dictionnaire Infernal by Collin de Plancy, Belphegor was Hell's ambassador to France.[3] The same claim was repeated by Victor Hugo in Toilers of the Sea.[4]

In the grimoire Key of Solomon, Belphegor is listed near the end of the book as a Syrian idol that is now destroyed.[5]

The novella by Machiavelli became the basis for the opera Belfagor by Ottorino Respighi, which premiered at La Scala in Milan in 1923.

[edit]
  • The PZL M-15 Belphegor, a 1970s Polish utility aeroplane, was named after the demon, due to its strange looks, the noise of its jet engine, and its unsuitability for crop dusting, for which it had been specifically designed.
  • Belphegor is an obtainable character in the adult otome game "What In Hell Is Bad". He is one of the seven kings of hell and possesses great power despite being constantly sleepy.
  • Belphegor appears as a supporting character in the TV show Supernatural. In the show, Belphegor possesses the body of Jack, played by Alexander Calvert.
  • Belphegor is a recurring demon/persona in the Megami Tensei and Persona video game series.
  • Belphegor is the youngest and seventh sibling among the seven demon brothers in the otome game Obey Me!. He is always napping and constantly sleepy, and is the twin brother of Beelzebub.
  • Belphegor is a blackened death metal band.
  • Belphegor is the Storm Guard of the Varia in the anime and manga series Katekyo Hitman Reborn. He is also known as 'Prince the Ripper'.
  • Belphegor is the name of one of the heretical gods, more specifically that of yellow luxin and sloth, in the Lightbringer series by Brent Weeks.
  • The long-running German dime novel and audio drama series John Sinclair featured Belphégor as a recurring villain. Author Jason Dark depicted Belphégor as an archdemon mainly active in Paris and a close ally of the Grim Reaper.
  • Belphegor is a random demon/monster encounter in the Square Enix games Final Fantasy IV and Final Fantasy XVI.
  • Belphegor is a young female demon in the series As Miss Beelzebub Likes. One of the main characters, and the love interest of Azazel.
  • Belphegor is referenced in the television show Elementary season three episode three.
  • Belphegor is referenced in the short story Bulldozer by Laird Barron.
  • A Digimon named Belphemon, from the Digimon franchise is a member of the Seven Great Demon Lords and appears in the fifth season Digimon Data Squad.
  • Void Stranger contains a number of characters with abbreviated demon names, including Gor, whose full name is Belphegor.
  • Belphegor is mentioned by Beelzebub in episode 8, season 1 in Helluva Boss. It is implied that the character identifies as female and rules over the circle of Sloth, the last circle in Hell. It is also implied she has a connection with medication and drugs in Hell from other references in the show. She later makes a full appearance in episode 11, “Mastermind” of season 2, appearing as a sheep demon with multiple eyes and a candle perched on her head.
  • In One Piece, Magellan, the warden of the prison Impel Down, is heavily based on Belphegor; visually, with distinctive devil horns, and thematically, as the character sits on the toilet for ten hours a day to relieve himself of diarrhea instead of doing his prison duties.
  • Belphegor is a title of a song by a visual kei band The Gallo.
  • In the video game Infernax, Belphegor is the final boss unless the player pursues one of the three golden endings.
  • In the Oz book Jack Pumpkinhead of Oz (1929) by Ruth Plumly Thompson, Baron Belfaygor of Bourne is a spoof of the Prince Charming stock character, seeking to rescue his damsel in distress from an enemy warlord. Purehearted but inept, Belfaygor requires assistance from other unlikely heroes, including the titular "Pumpkinhead". Despite his name, Belfaygor has no demonic attributes.
  • Belphegor is one of the character in Make the Exorcist Fall In Love, being heavily referenced with Belphegor with a title Lord of Sloth.

See also

[edit]

References

[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Belphegor

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Belphegor is a figure in , recognized as one of the seven princes of and the chief embodiment of the deadly sin of (), characterized by , , and avoidance of effort. His name originates from Baal-Peor (Hebrew: Baʿal Pəʿôr), a Canaanite worshipped by the Moabites on Mount Peor, where the engaged in ritual prostitution and , leading to a divine plague as described in Numbers 25:1–5. In later traditions, Belphegor tempts humans by inspiring ingenious inventions and discoveries that promise riches but foster laziness and discord. The biblical Baal-Peor represents a local manifestation of the Canaanite storm Baal-Hadad, possibly with chthonic () attributes, and his involved sacrificial meals and sexual rites aimed at and assimilation into Moabite society. According to the Babylonian ( 64a), worship of uniquely required defecating in front of the idol to honor it, linking the to scatological and practices that symbolized exposure and . This association with bodily excess and moral corruption evolved in Jewish and Christian lore, transforming the Moabite into a demonic entity by the medieval period, often depicted as an enemy of beauty and harmony in Kabbalistic texts. In Renaissance demonology, Belphegor gained prominence through classifications like Peter Binsfeld's 1589 Tractatus de confessionibus maleficorum et sagarum, which paired him explicitly with as a tempter who seduces through intellectual shortcuts and material gain. Collin de Plancy's 1863 Dictionnaire Infernal further popularized his image as a of who appears as a seductive young woman or a horned figure on a , granting wealth to summoners while sowing slothful discord. Literary works, such as Niccolò Machiavelli's c. 1520 Belfagor arcidiavolo (first published 1549), portrayed variants like Belfagor as a sent to to investigate , highlighting themes of against divine order and the perils of unchecked ambition. These depictions underscore Belphegor's role in Western occult traditions as a symbol of how , when divorced from , leads to spiritual and social decay.

Origins and Etymology

Etymological Roots

The name Belphegor derives from the Hebrew Baʿal Pəʿôr (בַּעַל-פְּעוֹר), referring to a Moabite associated with the biblical incident in Numbers 25, where the Israelites engaged in worship involving licentious practices at Mount . This compound name translates to "lord of the opening" or "lord of ," with "Baʿal" signifying a divine lord or master, and "Pəʿôr" linked to the concept of a gap, cleft, or wide opening, possibly alluding to a geographical feature or symbolic portal. The components of Baʿal Pəʿôr trace back to ancient Canaanite and Phoenician linguistic traditions, where "Baʿal" served as a common honorific title for various local deities, denoting ownership or dominion, as seen in broader Semitic pantheons from the second and first millennia BCE. "Pəʿôr," derived from the Hebrew root pʿr (פער), implies "to open wide" or "gape," potentially evoking natural formations like mountain passes or metaphorical notions of exposure and . These roots reflect the deity's integration into Moabite cultic practices, distinct yet influenced by neighboring Canaanite religious frameworks. In the evolution of the name through ancient translations, Baʿal Pəʿôr appears as Belphegor in the (Greek translation of the , ca. 3rd–2nd century BCE) and the (Latin translation by , ca. 4th–5th century CE), adapting the Hebrew sounds into Greco-Latin phonetics while preserving the core structure. This form persisted into occult manuscripts and grimoires, where it solidified as "Belphegor," and later influenced French esoteric texts, such as those compiling demonological lore, marking a shift from a localized pagan god to a demonized figure in Christian traditions. Scholarly debates center on whether Belphegor's stems directly from worship as a demonization of pagan or represents an independent development in , with some arguing the latter due to variations in attributes beyond the biblical episode. Proponents of the worship origin emphasize the continuity of Semitic titles in biblical polemics against foreign gods, while others highlight phonetic adaptations in translation as evidence of cultural reinterpretation rather than strict derivation.

Earliest Historical References

The earliest documented references to the figure later known as Belphegor appear in the as , a Moabite worshiped on Mount near the . In Numbers 25:1–5, the , encamped at Shittim, engage in sexual immorality with Moabite and Midianite women who invite them to participate in sacrifices to their gods, leading to "yoke itself to of ." This act of provokes divine anger, resulting in a plague that kills 24,000 people until halted by Phinehas's zeal. The incident underscores Baal-Peor's association with seduction, licentious rites, and forbidden worship, blending fertility cult practices with moral transgression. Deuteronomy reinforces this narrative, referencing the location Beth-peor in 3:29 as the site where later addresses the people, and in 4:3 explicitly recalling the destruction: "Your eyes have seen what the did at Baal-peor, for the your destroyed from among you all the men who followed the of ." These passages establish Baal-Peor not merely as a local god but as a of and sensual temptation that endangers communal purity. The transition from pagan deity to demonic entity emerges in post-biblical Jewish and early Christian interpretations, where foreign gods were reframed as fallen or malevolent spirits. In early Christian texts like Peter Comestor's Historia Scholastica (c. 1170), a popular biblical commentary, Baal-Peor is portrayed within the narrative of Israel's wanderings as a seductive force emblematic of a fallen angelic influence, contributing to the of pagan idols in scholastic theology. This aligns with broader patristic views that equated non-Abrahamic deities with demons, as seen in works attributing idolatrous worship to infernal powers. Themes of demonic temptation with wealth and vice appear in pseudepigraphal grimoires such as the (1st–5th century CE, though its composition is debated), though Belphegor is not mentioned by name. While biblical and early Jewish texts refer to Baal-Peor, the demonized form "Belphegor" first appears explicitly in 13th-century Kabbalistic works like the and later in 16th-century grimoires, with early literary depictions in Niccolò Machiavelli's 1532 novella . Jewish mysticism further develops this in the (13th century), the core Kabbalistic text, where the sin of Baal Peor (Zohar III:220b) is reinterpreted as a demonic to licentiousness, symbolizing the surrender to base desires and disconnection from divine holiness, thus solidifying Belphegor's role as a tempter of moral laxity.

Description and Attributes

Physical Form and Manifestations

In traditional demonological texts, Belphegor is commonly depicted as a monstrous, figure featuring prominent horns, a long flowing beard, leathery skin, and a gaping mouth, symbolizing his ties to excess amid ful indulgence. This form is vividly illustrated in the 1863 edition of Jacques Collin de Plancy's , where Belphegor appears as a hunched, straining upon a , emphasizing his dominion over idleness through a lavatorial motif derived from medieval theological puns on as avoidance of spiritual duties. Alternative manifestations of Belphegor include seductive shapes designed for , such as a beautiful young woman or an alluring young man, often appearing in moments of to entice summoners with promises of and ingenuity. He may also assume a bloated, idle demonic form with sharp nails and an open maw, evoking and , or a naked, hideous being that underscores his repulsive nature beneath deceptive allure. During summoning rituals in demonological grimoires, Belphegor proves difficult to invoke, often materializing amid thick smoke or shadowy veils accompanied by a foul, sulfurous odor typical of infernal entities, manifesting in one of his dual forms to test the summoner's resolve. These appearances require isolation and specific offerings, such as excrement, aligning with his slothful domain, and occur most potently in . Depictions of Belphegor vary across historical periods, with medieval illustrations favoring highly , animalistic traits to evoke horror and moral warning, while and later accounts, such as those in 16th- and 19th-century demonological compendia, present slimmer, more figures that blend with monstrosity for nuanced narratives.

Powers and Domains

In occult traditions, Belphegor is primarily associated with the domain of and discovery, where he is said to inspire humans with ingenious ideas for mechanical arts and innovations that promise effortless , often leading to and . According to Jacques Collin de Plancy's (1863 edition), Belphegor serves as the demon of discoveries and ingenious inventions, tempting individuals by suggesting creations that yield riches with minimal labor, thereby embodying slothful acquisition. This influence extends to revealing hidden treasures and secrets, granting knowledge that can elevate one's status but at the expense of ethical integrity. Belphegor's powers also include the ability to seduce and sow , particularly in relationships, by appearing in alluring forms to exploit human weaknesses such as and . In demonological lore, he is invoked to teach arts and sciences, including practical skills for , but demands unconventional offerings like excrement, a tied to his ancient Moabite origins as Baal-Peor, where worship involved scatological acts on high places. These pacts often provide protection against poverty by bestowing wealth, yet they foster laziness, carelessness, and relational strife, underscoring his role in promoting under the guise of ingenuity.

Role in Demonology

Position in Hell's Hierarchy

In , Belphegor is classified as one of the seven princes of Hell, each corresponding to a deadly sin, with Belphegor presiding over (). This hierarchy was formalized by in his 1589 treatise Tractatus de confessionibus maleficorum et sagarum, where Belphegor tempts humanity toward spiritual and physical indolence, positioning him as a high-ranking infernal authority subordinate to overarching figures like or . Subsequent demonological texts elaborate on Belphegor's rank within Hell's structure. In Jacques Collin de Plancy's (1818, revised 1863), Belphegor is depicted focusing on discord through wealth and invention while maintaining allegiance to higher demonic overlords. This places him as a lieutenant in the temptation of humanity. Grimoires from the and later periods show variations in Belphegor's hierarchical status. While not among the 72 spirits of the Ars Goetia in the Lesser Key of Solomon (17th century), he appears in related Solomonic texts like the as a former Syrian idol integrated into demonic ranks, elevated in subsequent works to a princely role overseeing slothful legions. These classifications underscore Belphegor's consistent mid-to-high position in infernal orders, often as a potentate tempting through without direct command over all of Hell.

Association with Sloth and Invention

In Christian demonology, Belphegor is classified as the chief demon associated with the deadly sin of sloth, embodying apathy, laziness, and the avoidance of spiritual and moral effort. This mapping originates from Peter Binsfeld's 1589 treatise Tractatus de Confessionibus Maleficorum et Sagarum (Treatise on Confessions by Evildoers and Witches), where he assigns each of the seven princes of Hell to one of the seven deadly sins, pairing Belphegor specifically with sloth to represent temptations toward idleness and neglect of duty. Paradoxically, Belphegor is also depicted as a patron of inventors and the idle rich, seducing individuals with promises of effortless wealth through groundbreaking discoveries and ingenious inventions. In Jacques Collin de Plancy's (1863 edition), Belphegor is described as the "demon of discoveries and ingenious inventions," who appears in the form of a young woman and grants riches to those he favors, often inspiring ideas that allow fortune without labor. Theological interpretations in Catholic portray Belphegor's dual nature as a toward false ease, contrasting the of by luring souls into spiritual under the guise of innovative . This association traces back to his origins in Jewish lore, where Belphegor derives from Baal-Peor, the Moabite deity whose worship involved idolatrous rituals of excess and idleness that led the astray from divine commandments, as recounted in Numbers 25:1–3. In esoteric traditions, Belphegor embodies a cultural as a figure of technological progress—fostering invention and wealth—yet ultimately destructive, as his gifts erode moral effort and lead to ruin through unchecked .

Appearances in Literature and Folklore

Medieval and Occult Texts

Early 16th-century occult writings further elaborate Belphegor's role in esoteric communications and pacts. Johannes Trithemius's , composed around 1500 and circulated in manuscript form, includes Belphegor among the aerial spirits invoked through coded invocations and sigils for transmitting messages across distances, often involving demonic hierarchies that blend with conjuration. Here, Belphegor is portrayed as a talkative intermediary who facilitates pacts by granting riches and inventive genius, but at the cost of spiritual sloth, reflecting the text's dual purpose as both a steganographic manual and a veiled of spirit . Belphegor's association with lustful temptations appears indirectly in broader demonological treatises on . The 1487 Malleus Maleficarum by and Jacob Sprenger discusses incubi and succubi as agents of carnal , aligning with Belphegor's Moabite origins as Baal-Peor—a of seductive condemned in biblical accounts—and his role in inciting slothful debauchery during trials, though not named explicitly, as an exemplar of demons exploiting human vices for pacts and possessions. In Jewish occult literature, Belphegor's narrative expands through with ancient legends of seduction and . The 13th-century , a kabbalistic attributed to angelic revelation, incorporates demonic forces within its cosmological framework of divine names and protections, blending Belphegor's identity with Baal-Peor traditions from Numbers 25, where the entity lures into idolatrous rites involving licentiousness and slothful rebellion against . This portrayal underscores Belphegor as a disruptive spirit whose invocations risk spiritual corruption, emphasizing amulets and prayers to ward off such influences in medieval Jewish magical practice.

Renaissance and Post-Renaissance Accounts

Niccolò Machiavelli's novella (written circa 1520s, published 1549) portrays Belphegor as a dispatched from hell to earth by and to investigate whether human marriage yields greater misery than the discord caused by female spirits in the underworld. Assuming human form as a wealthy Florentine nobleman, Belphegor marries a demanding woman named Onesti, whose extravagance and nagging drive him to ful despair and financial ruin, ultimately forcing him to flee back to hell pursued by angry creditors and exorcists. This satirical tale underscores Belphegor's association with amid domestic strife, concluding that earthly wedlock amplifies infernal complaints about women. Francis Barrett's The Magus (1801) incorporates Belphegor into its compendium of occult philosophy, classifying him among demons linked to sloth and detailing ceremonial rituals for summoning spirits to reveal secrets of and discovery. Drawing from earlier grimoires, the work outlines invocations, circles, and offerings—such as burnt sacrifices—to compel Belphegor's appearance for granting ingenious knowledge, while warning of his deceptive nature in promising wealth without effort. In traditions, as compiled in Jacques Collin de Plancy's (1818), Belphegor manifests as a who tempts mortals with sudden wealth and inventive ideas, often in the guise of a seductive young woman, but ultimately leads them to ruin through induced laziness and discord. German folk accounts from the 18th and 19th centuries echo this, depicting him as an ambassador of who bestows fortunes on the slothful, only for the gifts to foster greed and familial strife, resulting in and isolation.

Depictions in Art and Iconography

Visual Representations in Historical Art

The most iconic historical portrayal of Belphegor is found in the 1863 edition of Jacques Collin de Plancy's Dictionnaire Infernal, illustrated by Louis Le Breton. In this detailed engraving, Belphegor appears as a bearded, horned demon perched on a privy—a symbolic toilet throne—straining in discomfort while clutching a trumpet in one hand and his flaming tail in the other to shield it from the inferno below. This humorous yet macabre image, drawn with meticulous line work, underscores his association with sloth and earthly indulgences, becoming a foundational reference that shaped later occult iconography. An earlier visual representation appears in an 1794 engraving by Charles Emmanuel Patas after a design by . This depicts Belphegor (rendered as Belfagor from Machiavelli's novella) as a horned, figure, emphasizing his demonic and seductive qualities in a style with intricate lines and dramatic shading. It reflects the demon's literary role in tales of temptation and discord, bridging with emerging 19th-century .

Symbolic Motifs and Interpretations

One of the most distinctive symbolic motifs associated with Belphegor is the toilet , often depicted as a portable or pierced chair upon which the is seated. This imagery, popularized in 19th-century demonological illustrations such as Collin de Plancy's , reflects the Moabite worship of Baal-Peor, where excrement was considered an appropriate sacrificial offering according to the Babylonian (Sanhedrin 64a), interpreted by later Kabbalistic and Christian sources as a degradation of the into a figure of filth and idleness. The symbolizes through its evocation of passive —a base, unproductive bodily function that embodies wasted potential, where human energy is squandered in lethargy rather than directed toward meaningful endeavor. Belphegor's phallic symbolism, rooted in his origins as the Moabite god Baal-Peor venerated in the form of an erect phallus, extends to demonic representations featuring an exaggerated beard or open mouth suggestive of genital imagery. This motif underscores uncontrolled lust, portraying the demon as a tempter who exploits sexual indulgence to erode moral discipline. In occult iconography, such elements contrast Belphegor's association with inventive genius—promising discoveries and wealth—against the moral decay induced by succumbing to carnal desires, highlighting a duality where intellectual promise devolves into selfish corruption. Inventive devices, such as tools or mechanical contraptions occasionally attributed to Belphegor in demonological texts, serve as symbols of false enlightenment, luring individuals with visions of effortless prosperity through . Drawing from Renaissance-era critiques of , these motifs critique the unchecked pursuit of technological and intellectual advancement without ethical restraint, positioning Belphegor as a patron of "ingenious" but ultimately ruinous creations that foster and . In esoteric traditions, this interpretation emphasizes the demon's role in perverting , where symbols of creation become emblems of spiritual stagnation.

Influence in Modern Culture

Literature and Comics

Belphegor has been adapted into various 20th- and 21st-century works of fiction, often reimagined as a spectral or a seductive tempter embodying and invention, drawing loosely from earlier demonological traditions. In pulp , Belphegor features prominently as the titular "Phantom of the Louvre" in Arthur Bernède's 1927 Belphegor, or the Phantom of the , where the character is a mysterious, ghostly criminal mastermind terrorizing the museum in pursuit of a hidden royal treasure, opposed by detective Chantecoq. This portrayal inspired a series of sequels and adaptations, establishing Belphegor as a iconic figure in French . More recast Belphegor as a demonic entity tied to and power. For instance, in Alex Dunn's 2016 The Demon Magician, Belphegor is an "arc demon" who fulfills wishes but ensnares protagonists in moral dilemmas, highlighting themes of desire and consequence. Similarly, Edie Skye's 2024 Blood Knight: Throne of Shadows depicts Belphegor as the ancient "mother of all vampires," a slothful yet cunning overlord whose arcane throne must be destroyed to thwart her supernatural hunters. In comics and graphic novels, Belphegor appears in both Western and Eastern traditions, frequently as a manipulator. In DC Comics, Belphegor debuts as a French telepath and apprentice to in Super Friends #35 (1980), later joining the as a mid-level with abilities in mind control and , aiding international efforts against mystical threats. The character recurs in titles like Teen Titans Spotlight #16 (1988), emphasizing her role in global occult defense. In Japanese , Belphegor is portrayed as the timid yet malevolent Lord of Sloth in Aruma Aruma's Make the Exorcist Fall in Love (serialized from 2020), serving as the primary antagonist in the manga's fifth arc, where she tempts humanity with and amid apocalyptic battles between angels and demons.

Film, Television, and Video Games

Belphegor has been reimagined in various modern films as a spectral or demonic entity tied to mystery and possession, often diverging from traditional demonology to emphasize horror elements. In the 2001 French horror film Belphegor: Phantom of the Louvre, directed by Jean-Paul Salomé, Belphegor manifests as an ancient Egyptian spirit awakened in the museum, possessing a young Egyptologist played by Sophie Marceau and causing chaos through murders and supernatural disturbances. This portrayal draws loosely from the demon's name but frames it as a vengeful ghost rather than a prince of Hell, highlighting themes of cultural heritage and the occult. The film's narrative is an adaptation of Arthur Bernède's 1927 novel, updating the phantom's lore for a contemporary audience with visual effects depicting electrical anomalies and body horror. Earlier television adaptations laid the groundwork for this cinematic version, presenting Belphegor in serialized formats that blend suspense and the supernatural. The 1965 French miniseries Belphegor, or The Phantom of the Louvre, directed by Claude Barma, aired over four episodes on ORTF and features the entity as a nocturnal intruder in the museum, evading capture while orchestrating eerie events; it stars Juliette Gréco in a supporting role and emphasizes atmospheric tension over explicit gore. A forthcoming HBO Max miniseries titled Belphégor, set for release in December 2025 and starring Shirine Boutella, promises a fresh take on the Louvre ghost saga, produced by Jérémy Mainguy with a focus on fantasy and investigation elements ahead of its 2026 broadcast on M6. In American television, Belphegor appears as a demon in the long-running series , introduced in season 15 (2019–2020) as a low-ranking torturer portrayed by possessing the body of Jack Kline. Released amid God's apocalyptic unleashing of souls from , the character aids protagonists Sam and in containing the chaos using ancient artifacts like Lilith's Crook, while exhibiting a sly, self-serving demeanor that echoes slothful indolence despite his bureaucratic backstory in infernal record-keeping. This depiction integrates Belphegor into the show's expansive , portraying him as proficient in spellwork and opportunistic alliances, culminating in his sacrificial role to reseal . Video games frequently cast Belphegor as a formidable demon antagonist or ally, leveraging his slothful and inventive attributes for gameplay mechanics. In the Shin Megami Tensei series, starting from its 1992 origins and continuing through titles like Shin Megami Tensei V (2021), Belphegor is a recruitable member of the Tyrant race, embodying the sin of sloth with skills in physical attacks, curses, and support abilities that reflect his mythological role in fostering discoveries and laziness; players can fuse and customize him for strategic depth in turn-based battles against otherworldly threats. Similarly, in Doom RPG (2005), an official mobile entry in the Doom franchise developed by id Software and Fountainhead Entertainment, Belphegor serves as a powerful demon-class enemy encountered in Sector 5, functioning as a stealthy, blue-shaded variant akin to a spectre with enhanced aggression, challenging players in first-person shooter combat within Hellish environments. These portrayals emphasize Belphegor's combative and manipulative traits, adapting his lore to interactive narratives of demonic invasion and player empowerment.

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  23. https://occult-world.com/binsfeld-peter/
  24. https://archive.org/details/SteganographiaBSB1608
  25. https://en.wikisource.org/wiki/Devil_Stories/Belphagor%2C_or_the_Marriage_of_the_Devil
  26. https://www.publicdomainreview.org/essay/defining-the-demonic/
  27. https://www.metmuseum.org/art/collection/search/1185622
  28. https://www.deliriumsrealm.com/belphegor/
  29. https://www.imdb.com/title/tt0214529/
  30. https://www.rottentomatoes.com/m/belphegor_phantom_of_the_louvre
  31. https://www.themoviedb.org/tv/64817-belph-gor
  32. https://glassalmanac.com/hbo-maxs-belphegor-series-unveils-release-date-for-louvre-ghost-saga/
  33. https://screenrant.com/supernatural-season-15-belphegor-jack-lying-more-powerful/
  34. https://www.pajiba.com/tv_reviews/supernatural-season-15-premiere-recap-who-is-belphegor.php
  35. https://game8.co/games/Shin-Megami-Tensei-V/archives/351236
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