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No Disrespect: Was the Paris Opening Ceremonies Blasphemous?

No Disrespect: Was the Paris Opening Ceremonies Blasphemous?

Last updated on: July 29, 2024 at 9:11 am by Shawn Paul Wood

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No Disrespect: Was the Paris Opening Ceremonies Blasphemous? 2024-07-29T09:11:03-05:00 Shawn Paul Wood

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The Summer Olympics began in Paris, but it was not without controversy if you watched the Opening Ceremonies.

Focused on the southern section of the 483-mile-long Seine River, the Opening Ceremonies featured pomp and circumstance, sun and rain, and a couple of moments that offended the Blessed Assurances from Christians worldwide. Majestic highlights included the awe-striking comeback closing song from Celine Dion, a live performance from Lady Gaga, and French metal band Gojira singing among fireballs and a dozen beheaded Marie Antoinette.

There is nothing wrong so far. If you are familiar with the fun and yuks in France, you would expect scenes from the French Revolution, Impressionistic art, regaled landmarks like the Eiffel Tower and the Louvre, and all that hoity-toity fashion. Yet, another part of the illustrious French culture and history was men dressing as women.

In other words, drag was prominently featured at the Opening Ceremonies, and many believe blasphemy was given the spotlight there.

Not Your Mother’s Last Supper

A top and bottom comparison of Leonardo da Vinci's painting of "The Last Supper" and what was involved in the 2024 Olympic Opening Ceremonies

What the Last Supper was and how’s it going, thanks to the Opening Ceremonies. (Image credit: CBN.com)

There was something to catch across all 37 pedestrian bridges that crossed the Seine along the Opening Ceremonies trek, including a much-ado-about-something fashion show. Despite pouring rain, those models were having their moment. There were those looks, flowing fabrics, mesmerizing outfits (for both exhilarating and puzzling reasons), and pro-cat walking. Then, 13 people dressed to the hilt in drag joined each other for a bite.

It looked peculiar, and then, it looked all too familiar. That was a modern and (way too) progressive personification of Leonardo da Vinci’s historical depiction of “The Last Supper” from the Gospels (e.g., Matthew 26:17–29, Mark 14:12–25, Luke 22:7–38). Among the participants were French actor and singer Philippe Katerine. It wasn’t his voice that shocked the world. He was supposed to be the Greek god, Dionysus, wearing nothing more than blue body paint and, shall we say, strategically placed flowers.

Joining him around the parody table were several drag queens in full slay and a transgender model. Given France’s history, from the Chevalier d’Eon to today, that picture probably would have blended in with the ostentatious background. But they had to mess with Christianity, the only thing that is still permissible to insult worldwide.

In response to massive outcry via social media, the Paris 2024 committee initiated a necessary crisis communications campaign.

“Clearly there was never an intention to show disrespect to any religious group. (The opening ceremonies) tried to celebrate community tolerance,” Paris 2024 spokesperson Anne Descamps told a press conference. “We believe this ambition was achieved. If people have taken any offence we are really sorry.”

Standing proudly upon the inclusion platform was Thomas Jolly, artistic director for Paris 2024 and the main ire of angst for Christians about that “vision” plastered on global TV.

“We never wanted to be subversive. We wanted to talk about diversity. Diversity means being together,” he said at the same press conference. “We wanted to include everyone, as simple as that. In France, we have freedom of creation, artistic freedom. We are lucky in France to live in a free country. I didn’t have any specific messages that I wanted to deliver. In France, we are republic, we have the right to love whom we want, we have the right not to be worshippers, we have a lot of rights in France, and this is what I wanted to convey.”

As one of the offended Christ followers who watched the Opening Ceremonies with disbelief during that brief segment, I can speak for everyone here.

Dear Thomas Jolly, The next time you apologize for something, try talking about that thing. Talk about diversity and freedom, but you chose to depict “The Last Supper.” That wasn’t “Muhammad in the desert” or “Buddha in the mountains.” You were putting on a fashion show. Religion didn’t have to be a part of your frolicking festivities, so there was some untold intent. We understand. It happens frequently. But know you need Jesus–and we’ll pray you are met by Him soon.

Was the drag version of “The Last Supper” actually “Satanic,” as some called it? No, it was just vehemently out of taste. Poking fun at one deity and seriously praising the other is a far cry from a difference, some using a cheap shot to get a few million likes on social. Let’s pray he finds something to eat on his own time and decides to talk to the Lord personally instead of about Him during an inclusive global event next time.

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About Shawn Paul Wood

Shawn Paul Wood, Th.D., is an award-winning copywriter, contributor, and content strategist, and ghostwriter of several faith-based articles, speeches, columns, and books who has worked for some of the most admirable brands in their respective industries for over 20 years. As Founder of Woodworks Communications, he leads teams of content strategists and marketing professionals to expand the brands of corporate leaders, serial entrepreneurs, and respected ministers of the Gospel. He aims to help others develop self-discovery through stories and the written word to proclaim the Word to the world. For more information about his portfolio or help telling your story, visit WoodworksCommunications.com. You can read more about the author here.

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