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Paris’ Olympics opening event featured disgusting performances in which drag queens formed the centerpiece of the show. They also made a direct mockery of Christ and Christianity by mocking the last Supper.
What happened at the opening of the Olumpian games?
PARIS (AP) — In an unprecedented display of inclusivity, drag queens took center stage in the opening ceremony of the Paris Olympics, showcasing the vibrant and influential role of the French LGBTQ+ community — while also drawing criticism over a tablo reminiscent of “The Last Supper.”
The spectacular four-hour event held along the Seine River featured world stars such as Celine Dion and Lady Gaga, both considered strange icons. The ceremony blended historical and modern French culture with a touch of kitsch, culminating in a flotilla of shides carrying thousands of Olympians.
Nicky Doll, known for competing in the 12th season of “RuPaul’s Drag Race” and hosting “Drag Race France” competed in a high-octane fashion runway segment alongside “Drag Race France” Season 1 winner Paloma, Season 3’s Piche, and Giselle Palmer. At first, they stood along the runway, staring fiercely at the bracing models. Later, they joined, showcasing their own style.
Le Filip, the recent winner of “Drag Race France,” expressed their positive “surprise” and “pride” at the ceremony’s scale and representation.
“I thought it would be a five-minute drag event with weird representation. I was stunned. It started with Lady Gaga, then we had drag queens, a big rave and a fire in the air,” they said. “It felt like a crown again. I’m proud to see my friends and queer people on the world stage.”
Among their bold performances was a scene that looked like Leonardo da Vinci’s “The Last Supper” invoked, with the drag queens and other artists in a configuration reminiscent of Jesus Christ and his apostles. This segment attracted considerable attention – and mixed reactions.
“The (French) government knows what it’s doing. They want to show themselves in the best way possible. They showed no restrictions in expression,” Le Filip told The Associated Press.
On the other hand, prominent far-right politician Marion Maréchal condemned the actions on social media.
“To all the Christians of the world who watch the Paris 2024 ceremony and feel insulted by this drag queen parody of the Last Supper, know that it is not France that speaks, but a left-wing minority ready for any provocation,” she said. posted on the social platform X, a sentiment echoed internationally by religious conservatives.
“… because the beheading of Habsburgs and the ridiculousness of central Christian events are really the FIRST two things that come to mind when you think of #OlympicGames,” Eduard Habsburg, Hungary’s ambassador to the Vatican, posted on X, referring to a scene depicting the beheading. of Marie Antoinette.
Thomas Jolly, the artistic director of the opening ceremony, then drew attention away from “The Last Supper” references, saying that wasn’t his intention.
Le Filip responded to the criticism on the scene with a touch of humour and sadness.
“It feels like the words of someone who didn’t get on the guest list. We can all laugh together. It’s sad for me, honestly,” they said.
Inter-LGBT President James Leperlier has been more circumspect, arguing that France still has significant progress to make in inclusivity.
“We know in the LGBTQ community in France we are far from what the ceremony showed. There is a lot of progress to do in society in relation to transgender people. It’s terrible that they’re forced to stand trial to legally change their identities,” Leperlier said.
He also highlighted the disparity in acceptance, saying the community is not visible in other official ceremonies and “struggles to be heard.”
“If you saw the opening ceremony last night, you’d think it was normally like that, but it’s not. France was trying to show what it should be and not what it is,” he said.
The opening ceremony came as a drag and the exciting nightclub scene in France saw a revival. Founded in 1946 in the ashes of World War II, cabaret club Madame Arthur is one of the world’s oldest continuously operated LGBTQ+ theaters. It opened when Europe was only beginning to understand the extent of the widespread murder of members of the queer community in World War II and is currently experiencing a massive renaissance.
Drag isn’t just a pastime; for many French minority communities feeling alienated by tensions stemming from divisive politics and scars from the anti-gay marriage protests a decade ago, this is a statement of defiance. Many gay black and Arab youth – especially those from Paris’ less affluent and religiously conservative suburbs – and others who feel a sense of disconnection with French society find exciting and muddled events safe places where their identities can be expressed without fear of retribution.
Despite the backlash, Le Filip believes the opening ceremony will eventually transcend controversy.
“The message of the show is freedom, and it’s a good postcard for France,” they concluded.
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