A columnist for the Washington Post blasted Christians on Thursday over their outrage at the highly controversial program seen last week during the opening ceremony of the 2024 Olympics in Paris.
Sally Jenkins took to her column almost a week after the videos from Paris riled Christians the world over for what many concluded was a depiction of the Christian-themed Leonard DaVinci painting, “The Last Supper,” but with gay and transgender models and drag queens replacing Christ and his disciples.
Jenkins, though, is not at all sympathetic to those who feel their religion was mocked. Indeed, she thinks those mocking are better Christians than those who feel aggrieved.
“All the religious police see are phantom insults,” Jenkins exploded on Christians.
She went on to say that the notoriously gay entertainer and director who fashioned the opening ceremony numbers, Frenchman Thomas Jolly, is a better Christian than his critics.
Opening of the Olympic in Paris features parody of Last Supper, starring transsexuals, homosexual men and… a little kid #Paris2024 pic.twitter.com/2j2XSf9ict
— ancient north eurasian solidarity (@UEurasier) July 26, 2024
“Perhaps, just perhaps, Jolly is a better, truer worshiper than his critics. At the least, he did something they have failed to do: He saw faces and framed them with interest, rather than hostility,” Jenkins bloviated.
Jenkins then ascribes to the left’s claims that the catwalk sequence Jolly devised was not a depiction of “The Last Supper.”
“That drag queen sequence was meant to refer, like Delville, to Greek pagan celebrations — not, as some Christian leaders insist, to mock Leonardo da Vinci’s ‘The Last Supper,’” she wrote.
Jenkins then insisted that anyone who opposes Thomas Jolly’s controversial program is an art hater like those who have attacked art in the past.
“Why some church leaders are so often hostile to experimental art and treat it as anti-faith is an unanswerable question. But it’s certainly not a modern phenomenon,” Jenkins growled, adding, “Those flogging the Opening Ceremonies over one fleeting pagan tableau in a spellbinding four-hour ceremony belong to the same dry line of self-appointed judges left in the dust of history who misjudged works in their own day for not being properly venerating.”
She concluded, “Critics of the Opening Ceremonies certainly have paid attention to all the wrong things.”
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