"This is France!"
France unveiled a decidedly family-unfriendly spectacle last Saturday for over 28.6 million viewers worldwide as the four-hour opening ceremony for the 2024 Olympics, which unfolded along a 4.5 mile stretch of the River Seine in Paris, turned into the world’s most-watched Pride Parade.
Because Western cultural elites today are overwhelmingly cultural Marxists, the organizers of the 2800-year-old athletic competition decided to jettison any connection with sports, athletic excellence, or national pride, and instead promote the normalization of sexual perversion, gender ideology, and anti-Christian bigotry.
As always with Pride parades, the celebration of sexual libertinism, masked as “love” and “tolerance,” was the order of the day. The show featured the provocative dancing of scantily-clad, apparently non-binary performers. Polyamorists, transgender models, and bearded drag queens abounded. One prerecorded dance segment featured three gender-ambiguous dancers cavorting through the streets and into a building, where they ultimately entered a room and slammed the door in the viewers’ faces, clearly suggesting that sexual activity would ensue.
But the pointedly offensive lowlight of the ceremony was a blatant, live-action parody of Leonardo da Vinci’s Last Supper painting, with Jesus Christ and His apostles swapped out for a diverse squad of gender-bending narcissists (including a child, naturally, because queering the culture includes normalizing pedophilia). Jesus Himself was replaced by a cleavage-baring obese woman forming a “heart” with her hands, because “Love is love,” don’t you know.
(Gender ideologues, by the way, are fond of claiming falsely that Jesus preached acceptance and inclusion; in fact, Jesus calls us not to love ourselves as we are, but to change, to cast off lives of sin and strive to be more holy. Jesus didn’t hang out with sinners because he approved of their behavior, but because they most needed his message.)
But that’s not all! as the infomercial slogan goes. The Olympics organizers somehow thought it would honor the tradition of the Games by sending everyone to bed with nightmares over a performance by a headless Marie Antoinette singing the French Revolutionary favorite, “Ah! Ça Ira.” The word that leaps immediately to mind is “demonic,” a description that in fact suits the impulse behind the entire opening ceremony.
Remember also that the Olympic flame had previously been carried by three drag queens along its route to Paris. What do drag queens have to do with athletic excellence and national pride? Nothing, of course; again, it’s about celebrating and normalizing the subversive strategy of gender ideology. READ MORE HERE
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| Kyle Becker/X |
The degeneracy on display at the opening ceremony of the 2024 Paris Olympics perfectly captures the decline and decay of the West.
The opening ceremony of the Summer Olympic Games provides the opportunity for the host country to revel in a sense of national pride and celebrate its unique history and traditions.
Any jokes about cowardice or cheese-loving aside, France undeniably occupies a position as one of the pillars of Western civilization, with monumental contributions to literature, art, and science. Drawing upon a rich history and culture, it had the chance to show the world a vibrant and resilient nation ready to thrive in the 21st century, especially after a chaotic election earlier in July.
Instead, France decided to showcase the gender madness and degeneracy that are slowly but surely eroding the West.
Last week’s opening ceremony in Paris subjected tens of millions of people to a freakshow version of Leonardo da Vinci’s “The Last Supper,” featuring transgender performers and a Blue Man Group version of Dionysus, the Greek god of wine and debauchery. Some viewers quickly pointed out the inexplicable presence of a child amidst this gender bacchanal.
The lesbian DJ and activist who occupied the same position as Jesus in the iconic painting, aptly named Barbara Butch, called the scene the “New Gay Testament.”
After global backlash, Olympic officials have scrambled to gaslight the audience, insisting that any similarity to “The Last Supper” was “completely unintentional” and that “there was never any intention to show disrespect towards any religious group or belief.”
Not only are those excuses obviously false to anyone with even a passing familiarity with Christian symbolism and LGBT activists’ obsession with subverting it, they’re undermined by the fact that other parts of the ceremony featured the same wanton disregard for morality.
To complete the vulgarity, the performance cut between a parade and three people (two men and a woman) heading upstairs to engage in a ménage à trois. Once inside an apartment, they begin to indulge in their appetites before one of them shuts the door on the audience. Thankfully they stopped there!
As my colleague John Davidson pointed out, “Why did the organizers do this? Put bluntly, they did it because they hate Jesus Christ and Christianity, which they consider their most dangerous enemy. They are quite open about this now.”
That blasphemous display represented a naked expression of the power they now hold over Western culture. They know they can mock the very cornerstone of our entire civilization in front of an audience of tens of millions and they’ll receive applause for doing so. --->READ MORE HERE
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