Drag queens dazzle, decapitate Marie Antoinette and make Twitter cry

The grand tradition of turning the most innocuous events into global controversies continues with the 2024 Paris Olympics, which have decided to rewrite the rules of cultural sensitivity. The opening ceremony, a spectacle usually reserved for national pride and sporting glory, was instead a masterclass in how to stir up the flames and outrage the easily scandalized.

Let’s start by setting the scene: Paris, the city of romance, lights and, of course, sacrilege. The opening ceremony was meant to dazzle, but it seems to have accomplished something even more impressive: giving offended people around the world a reason to clutch their pearls and tweet furiously.

The centerpiece of this artistic extravaganza was a parody of Leonardo da Vinci’s iconic Last Supper. Oh yes, nothing epitomizes Olympic grandeur like a tableau that blends the sacred with the sensational. The highlight – or lowlight, depending on your perspective – was a drag ensemble, including the likes of Nicky Doll and Paloma, staging what can only be described as a gloriously irreverent reenactment of Christ’s Last Supper.

According to the angry masses, this is a profound “lack of respect” for one of the most famous paintings in human history. MEP Marion Maréchal expressed her disdain with the eloquence of someone who has just discovered that her favorite soap opera has been replaced by a 24-hour avant-garde art show: “It is difficult to appreciate the strange scenes between Marie Antoinette being decapitated, a kissing troupe, drag queens, the humiliation of the Republican Guard forced to dance with Aya Nakamura, the ugliness of the costumes and choreography.”

But Maréchal wasn’t the only one speaking out. Journalist Kyle Becker took to X (formerly Twitter) to call the ceremony a “total woke dystopia.” He was particularly disturbed by the visuals, accusing them of mocking everything from the Last Supper to the Book of Revelation. “The Olympics have made it clear that Christian spectators are not welcome,” Becker proclaimed, presumably as he awaited his invitation to join the Olympics’ artistic committee.

Not to be outdone, Kansas City Chiefs kicker Harrison Butker, perhaps more accustomed to kicking field goals than following cultural commentary, called the visual “insane” and quoted Galatians 6:7 in a show of biblical outrage: “Do not be deceived, God is not mocked.” Butker didn’t score any points with the creators of the opening ceremony.

Riley Gaines, an athlete and self-proclaimed expert on cultural appropriation, said, “Men wearing wigs are at the forefront of the Olympics. No one ever tells me that group is ‘oppressed’ or ‘marginalized’ anymore.” Gaines’ astute observation probably missed the point that the Olympics are not a test of cultural sensitivity, but rather a global celebration of diverse talent and performance.

While some were at pains to condemn the parade of iconoclasms that are causing trouble in gender relations, others were celebrating it. Our magazine, always a champion of LGBTQ+ visibility, congratulated the “queens of the world” for successfully breaking through the mainstream and showcasing their talents to the world. It seems that behind every harsh critique lies a jubilation of inclusion.

The Paris 2024 Olympics have truly outdone themselves, not only in delivering a spectacle of Olympic proportions, but also in mastering the art of cultural provocation. They have managed to offend, bewilder, and inspire all at once—a feat that may well be worth a medal in its own right. So, as we sip our coffee and digest the latest social media outcry, let us remember that in the grand theatre of world events, sometimes the most shocking performances are those that make us question what we thought we knew about cultural propriety.

And for those still holding their breath at the sacrilege of it all, remember: in the world of art and entertainment, controversy is often the best form of publicity.