1,920 words

Another day, another article written in response to an act of desecration and vandalism perpetrated by those who seek to spoil whatever is left of that thing we once could call “Western Civilization.” Honestly, I was reluctant to write this. After having typed thousands of words on the exhausting farce that was last the recent European Cup, perhaps I can be forgiven for not having the muster to write about yet another attack on our race, our culture, our traditions, and our senses. As I wrote in my essay on EURO 2024, life in the West today is like fighting on the parapets of a fortress as wave after wave of enemy soldiers relentlessly scales the walls.

As you might have already surmised, I am talking about the opening ceremony for the Paris Olympics. I didn’t watch the thing live. I’ve never been very interested in opening ceremonies, half-time shows, or anything similar, but despite my indifference, it was impossible to avoid being exposed to this ocular assault.

The opening ceremony was almost a parody of extreme liberalism. I don’t think the artistic director responsible for creating the performance, Thomas Jolly, could have filled it with more transvestites, drag queens, obese women, negroes, and circus freaks, simply because he had used up all the supply.

Rather than having the opening ceremony take place within the confines of a stadium, Jolly had the admirably ambitious idea to have it performed all over Paris, while the nations of the world’s athletes floated by on boats down the Seine. This meant that there were many jump-cuts from one standalone act to another, and it only served to heighten that sense of being under unabated barrage.

The opening ceremony act set the tone immediately. After some tricolor fireworks, we were transported to the Conciergerie where Jolly and Co. had a macabre sight waiting for us: an actress depicting a decapitated Marie Antoinette, holding her head in her hands while standing at a window of the very place where the real woman was held before her execution, sang the opening lines of a song by heavy metal band Gojira.

From that ghoulish “celebration” of murderous bloodlust, the next act was a troupe of shuckin’ and jivin’ blacks contorting their bodies while a French military band looked on with faces that seemed to betray an innate disgust.

In the opening minutes of the opening ceremony, it became clear what we were in for, but even the most battle-scarred veteran of the culture wars was not prepared for the full might of the “woke” onslaught that was about to be unleashed.

Having already treated them to the “culture” of France’s African interlopers, Jolly gave the global audience another not-very-subtle display of the modern liberal’s negrophilia and fetish for replacing whites with blacks. This time, an afro’d African woman apparently meant to represent Marianne belted out La Marseillaise.

But that was nothing compared to the coup de grâce. As darkness began to fall over Paris, a seemingly endless parade of people so ugly that even Federico Fellini would have grimaced upon looking at them strutted their stuff on stages designed to look like fashion-show runways, until the camera ultimately descended on what would become the most talked about “vignette” of the night. I am, of course, describing the “Last Supper mockery.”

I know you’ve seen the pictures, if you didn’t already see the live presentation. It was grotesque, and intentionally so. It was an ostentatious adoration of the ugly, the unhealthy, and the repulsive. In other words, it was yawningly predictable from the modern liberal-Left. That’s the thing people such as Thomas Jolly and the hilariously-named Barbara Butch, the woman “portraying” “Jesus,” still haven’t understood: They’ve already crossed all the boundaries of decency. There are no more envelopes to push. Intentional attempts at provocation are cringe nowadays, and especially if your target for provocation is Christians. There is nothing — absolutely nothing — brave or avant-garde or rebellious about mocking Christianity, at least not in the way that liberals do it.

I must say, however, that I’m disappointed and frustrated that the “Last Supper” has become the central focus of the negative reaction to the opening ceremony. Yes, it did look rather like Da Vinci’s famous fresco, but it also didn’t. For starters, there were well over 13 actors on stage to represent, if we are to believe the Christian outcry, Jesus and the apostles. Jolly and Co. claim that it was not a depiction of the Last Supper, but of a festival of Dionysus. Maybe you’re not inclined to believe them, and that’s within reason, but the appearance of a queer, blue-painted freak with laurel wreaths around his head and his waist seems to confirm the professed intentions of the people behind the performance.

Christianity was mocked, because decency, higher ways of being, beauty, and divinity in general were mocked. Whether or not the Last Supper was tastelessly parodied, Christianity was mocked indirectly because Christian sensibilities were attacked throughout the ceremony, but also because Europe itself was mocked. And that is why I’m annoyed that all the attention is on the insult to Christians.

The Olympics are the creation of pre-Christian Aryan Greeks. The very essence of the Olympics was insulted. Indeed, if Jolly’s argument in defense of his production is true, the deity actually mocked was not Jesus, but Dionysus, who was reduced to a ridiculous caricature. Few are the practitioners of Greek paganism these days, but I suspect they were offended, too. But no thought was given, has been given, or will be given to them and how they felt about seeing the Olympics used as a vector for the promotion of woke filth, and one of their pantheon treated as some sort of circus act.

Regrettably, Christians made it all about them. I say regrettably for several reasons:

1. This wasn’t exactly Piss Christ. Christians getting upset about something that arguably had nothing to do with them just keeps Christians in the position of easy prey.


2. There was so, so much more to rain righteous anger upon. Lost amid the glut of complaints about the mockery of Jesus and the Last Supper is the fact that there were multiple displays celebrating the replacement of the native French, and by extension, native Europeans, with foreign races. Alongside a black woman as Marianne, there was also the blatant symbolism of 100-year-old former French Olympian Charles Coste passing on the Olympic torch to two black athletes representing France. No one is talking about this side of the opening ceremony, no doubt because it’s far easier to play the scandalized Christian and get lots of engagement on your social media posts decrying the attack on “billions of Christians worldwide” than it is to touch the racial third rail.


3. Christians banned the Olympics for 1,500 years because, like their Judaic cousins, so many Christians cannot stand the existence of anything that is not devoted to the worship of the singular god of Israel. Even though I wince and frown every time I see Christianity being insulted by gutter-dwelling freaks, I find it difficult to sympathize entirely when Christians have a history of deserving it, frankly.


4. The reason subversives such as Thomas Jolly and Barbara Butch attack Christianity is because they want to attack Europeans, and they are lazy, so they choose the easiest European target. They must maintain the fantasy that they are always the oppressed underdog, therefore they still imagine that the Church oppresses them. They can only admit by accident that the Church is rather on their side these days, when their mask slips and they gloat about how many churches are festooned in rainbow flags, how gay marriage is sanctioned, how women are priests now, and how the Pope is a “refugees welcome” ally. But if European pre-Christian faiths were hegemonic, these same people would be motivated to subvert “paganism.” In fact, they already did many, many years ago.

The Spirit of 1789

The 2024 Olympics opening ceremony is not the first to see the words “satanic” and “demonic” used to describe it. The opening ceremonies of both the 1992 and the 2012 Olympics have garnered fame amongst the conspiracy theory wing of the Internet for their occult, “demonic” symbolism. This year’s opening ceremony “occulted” very little, but I’ll concede that there was a “demonic” element to it. I sensed it when I saw the depiction of the headless Marie Antoinette. The evil spirit of 1789 still possesses France.

You might scoff at this idea. Indeed, my friend Millennial Woes did. He stated on Twitter/X:

It is absolutely moronic to say that the Paris Olympics debacle is “French” or “is because of the French” or “stems from French history [the Revolution]”. Don’t be fucking ridiculous. Do you seriously think it wouldn’t be exactly the same were it staged in some other European country? Of course it would. There’s a reason these events are like this everywhere in 2024, but similar events held in France 20 years ago WEREN’T like this. JFC, stop wasting everyone’s time with drivel.

It is absolutely moronic to say that the Paris Olympics debacle is “French” or “is because of the French” or “stems from French history [the Revolution]”. Don’t be fucking ridiculous. Do you seriously think it wouldn’t be exactly the same were it staged in some other European…

— Millennial Woes (@MillennialWoes) July 27, 2024

He’s not entirely wrong to scoff. Certainly, his final point is completely spot on. However, there was a direct line to the French Revolution, and not only did the choice to gruesomely revel in Marie Antoinette’s execution demonstrate this, Thomas Jolly’s own words in defense of his production did, too (emphasis in italics, mine):

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.

It is thanks to the Revolution that gremlins such as Thomas Jolly get to rub their fetishes and politics in our faces. I’m not drawing that connection. He is. And Jolly is only parroting what so many French liberals, conservatives, Leftists, and intellectuals have stated ad nauseum for over 200 years. The blessed Republique is sacrosanct, no matter the pools of blood that were spilt to establish it or the ruin and misery it caused for so much of its existence.

At the end of the day, monarchy and aristocracy are bad and democracy is good. So what if the people who dismantled the aristocracy in order to impose a democracy did so by slaughtering hundreds of thousands of their kinsmen? So what if France under the Ancien Regime was better off than this modern French republic, according to several objective metrics? The victors write the history, and shape the narrative in the present. In fact, the modern French establishment gives so much importance to maintaining this myth of the righteous revolution that even a minor film that dared to tell the story from the Royalist perspective was seen as a significant threat to their hold on the national narrative.

Liberté, égalité, diversité. The so-called values of Republican France, on display for all the world to see. And how proud Thomas Jolly and friends must have been! Emmanuel Macron certainly was, giddily logging onto his Twitter/X account to proclaim, “This is France!”

Yes, it is. That’s the problem.