A French show

The French have long prided themselves on being liberal, civilized, and artistically expressive, often seeing themselves as the trendsetters of modernism. However, the recent Paris Olympic opening ceremony, which was meant to be a grand celebration for all participating nations, instead descended into controversy. The ‘Parade of Nations’, which usually features sportspersons walking on the running track of a stadium, witnessed a break from tradition as athletes from 205 countries and one refugee team navigated the Seine on boats. Performances during the ceremony, intended to reflect France’s history and culture, included provocative portrayals such as a headless Marie Antoinette singing with her severed head in hand, adorned with drag-style makeup. This depiction was one of many drag-themed elements recurring throughout the event. Additionally, three drag queens were among the 10,000 torchbearers relaying the Olympic flame from Greece through French territories to Paris.One of the scenes resembled a reenactment of the biblical Last Supper, but with drag queens and a near-naked Greek god of wine. The ceremony, watched by over 28 million people, managed to unite viewers not in celebration, but in disappointment and anger. The Paris Olympics opening ceremony’s parody of Christianity’s Last Supper mocked a faith shared by two billion people. The organizers defended the concept, but it was seen by many as a derision of Christianity. The Bishops’ Conference of France expressed deep regret, interpreting the scene as a mockery of Christ’s Last Supper. Political figures like Hungarian Prime Minister Viktor Orban and Italian Vice Premier Matteo Salvini also denounced it as a “shameful spectacle” that disrespected French culture. This shouldn’t be dismissed as an internet kerfuffle but seen as part of a broader cultural debate, highlighting the left’s challenge to Western civilization’s canon and traditional faith. The portrayal of drag and the media’s obsession with it drew ire, particularly from those who find such representations offensive. The event, intended to celebrate love and inclusion, instead felt like a caricature, failing to bring people together as promised. In addition, the ceremony was dampened not just by the rain, but by the bewildering performances and the underwhelming execution. According to media reports, the entire show cost approximately $130 million, four times the budget of London’s critically acclaimed 2012 ceremony. However, questions arose about where the money was spent. The performances took place on a bridge over the River Seine, rather than in a stadium, around a table that doubled as a catwalk adorned with Parisian models, dancers, fashionistas, and drag queens. At the center was Barbara Butch, a plus-size lesbian DJ in a sequined blue dress and golden halo-style crown.Critics likened the drag performances to minstrel shows of the past, which caricatured enslaved Blacks and were rightfully condemned as racist and insulting. Similarly, the drag performances were seen as mocking and offensive to women. This perspective suggests that while France rightly prides itself on artistic freedom, the ceremony perpetuated underlying misogyny within French culture and did not set a positive tone for the Olympics’ view of women. The ceremony’s mediocrity was evident. While it tried hard to represent an inclusive culture, it ended up resembling a chaotic scene rather than a cohesive celebration.