France’s Olympic inauguration decided to embrace an amoral view of the world. The France of Voltaire, Degas, Delacroix, and Alexis de Tocqueville is long gone. No longer will the Pearl of Europe guide thought and avant-garde cultural trends as the Enlightenment promised.
Today, it was clear they capitulated to ignorance and bad taste. After July 26th, 2024, France’s lead will only take the most curious minds into a swamp of ridicule, contra-Christianity, and lewdness pride.
It is not enough that Christians are the most persecuted, hated, and rejected religion on earth. Bullies also want Christians off the living room wall unless their memories are hanging like head trophies they can use to mock their God.
Last Friday in Paris, the Olympic inauguration celebration parodied the famous Leonardo DaVinci painting The Last Supper in a choreographed zenith of decades of anti-Christianity and repetitive mockery against the Galilean followers.
They tore up the painting from its frame, made it a ball, and threw it into the recycle garbage bin together with depictions of the nuclear family and France’s own tragic history. It is a perfect Opera buffa that made fun of a God who is giving Himself to a world overflowing with ungrateful men.
Curiously or perhaps ominously, this is the 33rd Olympic festival.
The Last Supper
In Leonardo’s painting, we can see the apostles and Jesus dining His body and blood in an exoteric ritual that millions of human beings repeat and commemorate with the utmost respect for hundreds of years. This vision is one of peace and calm moments before Jesus’ excruciating passion. Something that many seem to forget and now we can say willfully ignore.
The vomitive celebration portrayed Jesus and the Apostles as drag queens and transgender individuals who made efforts to show not only their faces or hand gestures to the camera but also their groin area above the table, as dishes ready to be tasted with awe. Genitals are the protagonists of the XXI century demise.
But the centerpiece is the most disturbing. A Jesus-like creature forms a heart with its hands. Under the circumstances, a blasphemous symbol replaces God’s flesh. In other words, a perfect, spotless heart is replaced by nothingness, perhaps merely a space, a parenthesis, or a thought. We later see how an old, well-known, livid Dionysus, the god of insanity, ritual madness, winemaking, and ecstasy, takes the lamb’s place.
To many, it reminded us of Sodoma and Gomorra, or when, in the Old Testament, the Jewish people, recently freed from the Egyptians, welcomed a new god in the shape of a golden calf. Not because of the laughs and licentious behavior they engaged in but because of what those events represented before the end of their age.
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