By now the entire world has seen how powerful the LGBTQ movement is. They’ve managed to insert their victim status into every aspect of life and turn it into a bizarre display of “diversity and inclusion.” In a parade of French historic moments of liberation, the finale of the Paris Olympics tableaux made one very loud political statement: “They’re here. They’re queer. And we’re supposed to cheer.”
Billions of people didn’t feel that way. The Olympics are supposed to be a uniting event, but this year’s host country decided to divide, dismiss and denigrate. It started with men dressed up as caricatures of women being given the Olympic torch. It continued with its dismissal of heterosexual love as it frolicked through scenes with a (more than suggested) bisexual threesome, to which the official Olympic X account said: “The freedom to love is no less sacred than the freedom to think.”
What if someone’s thinking about pedophilia? What if someone’s thinking about incest? Not everyone’s version of “love” is moral.
Then came that moment. A host of LGBTQ characters (along with a young girl who was flirted with by one of the sexually ambiguous people) lined up at a Da Vinci-like table, anchored by a busty lesbian adorned with a halo. She was the new DEI Jesus, I guess. Her name is Barbara Butch. She’s the one who posted on her Instagram what we know they all knew and all planned. This Olympic scene was to mock Christianity and show what liberation from less-than-inclusive moral standards looks like. Her now-removed post proclaimed: “OH YES! OH YES! THE NEW GAY TESTAMENT!
Keep in mind. The French get offended when we lowly Americans butcher their language by attempting to merely speak it. LGBTQ activists get offended if people don’t use made-up or accurate pronouns. The same #LGBTQ movement that demands respect shows none for one religion -- Christianity. They wouldn't dare mock Islam. Using correct pronouns and speaking biological truths is freedom of expression too, yet they brand it hate speech.
“It’s art!” they say. “Relax.” And oh, if you’re offended, we’re really, really sorry. That was literally the response from the Olympic spokesperson when they were called out for the blatant and needlessly offensive scene. Yes. It was intentional. Despite the initial denial and lame apology, the producers of the opening ceremonies confirmed what was obvious, explaining: “For the ‘Festivities’ segment, Thomas Jolly took inspiration from Leonardo da Vinci’s famous painting [The Last Supper] to create the setting.”
Rocket science, people. Rocket science.
Thomas Jolly, the gay director responsible for the artistic direction of the opening ceremonies, denies the shocking scene was any rendition of the Last Supper. “The idea was to have a pagan celebration connected to the gods of Olympus,” Jolly explained. “You will never find in me a desire to mock and denigrate anyone.” Well, it was definitely pagan. And it was clearly a celebration of debauchery as it featured the Greek god (Dionysus) of getting drunk and disciples getting your whatever-sexual promiscuity on. He knew the picture he was visually painting. As an artist myself, we tend to be hyper aware of what we’re communicating. It’s by design. I think we all know the intent: shock and all. Yes. They wanted to shock the world and then pretend that we’re all the crazy ones for thinking we saw what we saw. As typical with woke folk and their dogma, the International Olympics Committee (IOC) doesn’t actually care about its own diversity and non-discrimination statements.
“The enjoyment of the rights and freedoms [...] shall be secured without discrimination of any kind, such as race, colour, sex, sexual orientation, language, religion, political or other opinion, national or social origin, property, birth or other status”. These are the words of the IOC. Is that what played out a few days ago?
Did Jolly’s work actually show an intent not to mock or denigrate anyone? He mocked Christians (not Muslims, of course) by invoking a sacred Biblical moment. The opening ceremony denigrated women by parading around men proudly co-opting womanhood. Did Jolly have White people featured in Blackface? Of course not. That’s a social no-no. He showed the world, though, that when it comes to diminishing females to elevate LGBTQ patriarchy, he certainly can-can.
I think gaslighting should be an Olympic sport. It’s so typical when activists sucker punch people, act like the victims, and then blame the targets of their hit-and-run for misunderstanding them. As a Christian, I’ll always try to love you; I just won’t be forced to love what you do.
The Paris Olympics’ opening ceremonies had a running thread where heterosexual romantic love was barely displayed (except in Celine Dion’s rousing finale song). There were fleeting shots of books pulled from shelves in Jolly’s disjointed stories that were mostly of titles exploring heterosexual adultery and sexual promiscuity. There was no visual depiction of love between a man and a woman, just LGBTQIA+++ sexuality. Since the tableaux were showing historic moments of “liberty” and prevailing over forces of oppression, I guess we’re to assume that homosexual, bisexual and “transgender” people have now conquered their oppressors (Christians). The Paris Olympics were preaching their “truth” -- they have fulfilled France’s motto of Liberty, Equality, and Fraternity.
It's funny how billions of people didn’t feel those warm mushy feelings. It almost felt like the unity had been violently severed by a French guillotine.
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