Friday’s drag-queen parody of Christ at the Paris Olympics opening shows yet again that people who hate Jesus just can’t escape His art, archetypes, created realities, or authority.
The exhibition replaced Christ in the iconic Leonardo Da Vinci painting with a queer activist who describes herself as “a fat, Jewish, queer lesbian” and his disciples with cross-dressing sex performers. It immediately prompted an international backlash that can’t benefit queer acceptance. Neither can the performance, which portrayed queer people as creepy sex maniacs.
The show also backfired symbolically. In their attempts to slime what they see as their enemies, queer activists reinforced things they’re trying to destroy.
The Last Supper On Display
The most obvious demonstration of this is the derivative nature of the “art.” The best the queer Paris Olympics “artistic director” and sex performers could come up with is badly deforming others’ artistic triumphs. They didn’t think up their own world, symbols, and referents, they just sabotaged others’ then pretended what any three-year-old can do is brilliant. This doesn’t compete with or replace Christianity and its symbols, it reinforces them.
If one wanted an entire civilization to forget about Christ’s Last Supper, one would adopt the left’s usual strategy: the memoryhole. Indeed, that seems to be already happening for the Paris blasphemy show, with clips of this massive event oddly difficult to find online.
Today, few Westerners know almost anything about their artistic, religious, and cultural heritage. In earlier generations, varying-quality reproductions of the famous
