Olympic Organizers' Attempt to Backpedal on Opening Ceremony Gets Undermined by Their Own Performers
Unlike woke liberals, true Christians do not enjoy feeling outraged. In fact, given the choice, we would prefer to simply live in peace and assume that others of goodwill may do likewise.
However, when woke liberals use a global stage as a platform from which to mock Jesus Christ, and when officials’ explanation of that obvious mockery contains lies brazen enough to make Satan blush, then Christians have no choice but to assume that both the mockery and the official explanation originated in hell itself, in which case all hope of goodwill has vanished.
In an excellent thread posted Sunday on the social media platform X, Thomas Stevenson of The Post Millennial showed that one of the performers at the center of the blasphemous display has publicly described its intended meaning in a way that contradicts the official explanation.
During Friday’s opening ceremonies of the Olympic Games in Paris, France, men in drag and other self-styled representatives of the so-called “LGBT community” appeared to reenact the Last Supper.
To say that many Christians responded with outrage would hardly do justice to the feelings that undoubtedly swelled inside millions. Christians and even some non-Christians expressed those feelings in different ways.
Since Friday, Olympic officials have issued a half-baked apology and insisted that the performance, which resembled Leonardo da Vinci’s famous 15th-century painting “The Last Supper,” in fact amounted to an interpretation of the Greek god Dionysus.
After heavy backlash against the Olympics, for what many have said is a drag queen parody of the Last Supper, the @Olympics disagreed, saying this: pic.twitter.com/sDsDN0AlBf
— Thomas Stevenson (@RealTStevenson) July 28, 2024
Stevenson, however, found evidence to the contrary.
During the grotesque performance, a morbidly obese woman named Barbara Butch stood at the center of the long table.
According to Stevenson, Butch shared posts on social media “that have defended the Last Supper depiction as well as posts saying that that she was the ‘Olympic Jesus.'”
However, the woman in the center of the crowd around the table said differently on social media, sharing posts that have defended the Last Supper depiction as well as posts saying that that she was the “Olympic Jesus.”
This was found from stories on her Instagram handle…
— Thomas Stevenson (@RealTStevenson) July 28, 2024
Butch’s Instagram page can be viewed here.
Stevenson’s lengthy thread featured numerous examples of Butch seeming to endorse the “Olympic Jesus” interpretation.
For instance, Butch shared an image from another Instagram account that showed the Olympics scene at the top of the page and da Vinci’s “The Last Supper” at the bottom.
The words “Oh Yes! Oh Yes! The New Gay Testament!” accompanied the image.
Butch also shared this post that I have seen from multiple accounts, describing the image as the “gay New Testament.”
It was shared from the Instagram account “blanka_flavin” pic.twitter.com/TyWHE7qcok
— Thomas Stevenson (@RealTStevenson) July 28, 2024
In short, the official explanation does not square with a key performer’s interpretation.
“The posts from Butch suggest – in contrast to the Olympics’ statement – that is was the Last Supper,” Stevenson wrote.
In other words, the center person in the portrayal was posting that she was depicted as the “Olympic Jesus” in the Last Supper even as the organization was trying to backtrack.
The posts from Butch suggest – in contrast to the Olympics’ statement – that is was the Last Supper.
— Thomas Stevenson (@RealTStevenson) July 28, 2024
Meanwhile, drag queen Nicky Doll, who performed at the opening ceremonies, struck an attitude of defiance that hardly seemed calculated to dissuade Christians of his hostility toward them.
“It was my absolute honor to perform in front of billions of people around the world, and celebrate our olympians,” Doll wrote on an Instagram post that has since been restricted.
“And remember, to the ones that had their feathers ruffled seeing queerness on their screen: WE AIN’T GOING NOWHERE,” he added.
In short, as Stevenson showed, the official explanation of the blasphemous performance does not square with the evidence.
Thus, both the performance and the explanation could only have originated in hell.
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