Paris Puts On Her Worst Decapitated Head

Celine Dion had not performed in four years as the French-Canadian singer has struggled with Stiff Person Syndrome, a neurological ailment that causes intense muscle spasms.

The opening of the 2024 Paris Summer Olympics was supposed to be remembered as her triumphant return from battling a disorder that had sidelined the iconic chanteuse’s career.

Instead Dion’s comeback was overshadowed by other events that embroidered a tapestry of French historical gore, frivolous hedonism, and a return to her Jacobin anticlerical and sacrilegious era.

Let’s start with the skit that would’ve been the most talked about if not for the parade of horribles that made a more profound impression in the media.

A host nation tries to highlight that which the world at-large essentially stereotypes them as; its not so much how they see themselves but how they are seen. Think of the It’s a Small World dancing puppets in costume representing a particular country but on a grander scale.

So the producers of the opening ceremony tried to work in menage a trois into their showcase because the French as much invented the three-way as they did fire.

However they may have patented this particular rendition involving three gender fluid (two biological males in mascara and a biological female) non-binary (am I using this term right?) intersectional (ditto?) young people dressed up like psychedelic mimes cavorting around the reading room of the Bibliotheque Nationale.

But this wasn’t even first runner up for the bizarre in the program.

That honor goes to the beheaded figure of Marie Antoinette with a bloody stump of a neck.

Hooray for regicide!

Is this ghastly visual something you want your nation to take pride in?

The guillotining of an Austrian-born royal who was devoted to her young children and prior to her execution was anguished to have her son not only removed from her care but was pressured into testifying against her, and was condemned in a sham trial?

The Widow Capet was just one of many thousands of French men and women (including infirm nuns and priests) whose lives were consumed during the Reign of Terror, the greatest blight on Europe prior to the rise of the Bolsheviks and Nazis.

Even the French Left, no fans of the monarchy, took umbrage at the beheaded Marie Antoinette display.

Jean-Luc Melanchon, a leader in French eco-socialist politics, condemned the depiction for glorifying the since banned death penalty and brutal era in France’s history.

Yet even the guillotined queen could not compete for the public backlash from the recreation of Leonardo da Vinci’s Last Supper centered with a corpulent lesbian activist DJ Barbara Butch flanked by drag queens with the table transitioned into a fashion show catwalk.

The Last Supper marks the evening before His crucifixion where Jesus institutes Holy Communion through the blessing of bread and wine as his body and blood.

The mockery of Holy Thursday went far beyond poor taste and further reinforces the belief that many traditional Christians maintain that the LGBTQ agenda is directly belligerent to their faith and community.

And the part that has gone mostly unsaid, that truly puts the apostasy cherry atop the grotesque bacchanalian feast was revealed on the enormous silver platter, the odd blue painted figure representing Dionysius and is the biggest slap at Christians.

In contrast to Jesus’ offering his body and blood at the Last Supper here we have a strange false god being served.

Seriously,  don’t say it wasn’t what it clearly was Paris.

Wickedness isn’t even attempting to cloak itself anymore as the new secularism provides a fertile fields for anti-Christian messaging being sown across the entertainment spectrum.

And what was the response by overall producer Thomas Jolly?

Sorry if you chose to be offended, though a non-apology of this sort should not be surprising.

You don’t spend that kind of money on production of an international spectacle and be oblivious as to both the show and its reception.

Apologists have gone through great lengths to defend the production by claiming that Marie Antoinette was a traitor (to whom?) and that the Last Supper tableau was not really that but a message against war (!) and a tribute to a Dutch 17th century painting The Feast of the Gods in what maybe the most incredulous attempt by people to gaslight themselves out of their own predicament.

But to borrow a phrase used from Joe Biden’s politically fatal debate performance, we saw what we saw.

The Church’s eldest daughter was made into a blood-soaked harlot in the Paris Olympics opening ceremony.

To the credit of the French Christians, they reacted not with just outrage but a large demonstration of faith and prayer, seeking to wash away this stain from their national identity. Like the merciful priest from Les Miserables who forgave Jean Valjean for his theft, they sought to claim the tarnished national soul for God.

With a global audience, Paris and by extension France was made to look like an unserious entity. A nation that had given so much to the world particularly in the field of culture projected an image of not avant garde creativity but as bastions of anticlericalism and weird.

God will not be mocked but France, going on its 5th republic, will deservedly be.

Paris would’ve been better off subbing this production off to South Park creators Trey Parker and Matt Stone.

It would’ve been offensive for certain but at least entertaining.