Friday’s drag-queen parody of Christ at the Paris Olympics opening shows yet again that people who hate Jesus just ca n’t escape His art, archetypes, created realities, or authority.
The show replaced Christ in the classic Leonardo Da Vinci artwork with a gay advocate who describes herself as” a large, Hebrew, gay homosexual” and his followers with cross-dressing sexual players. It immediately sparked a global backlash that ca n’t help queer acceptance. Neither can the achievement, which portrayed gay people as frightening sex maniacs.
The exhibit also backfired spiritually. Gay protesters reinforced the items they’re trying to destroy in their attempts to slim down what they see as their enemies.
The Final Supper On Display
The generic character of the “art” serves as the most obvious illustration of this. The best that the gay Paris Olympics “artistic chairman” and sex performers could produce is severely undermining other people’s musical successes. They did n’t think up their own world, symbols, and referents, they just sabotaged others ‘ then pretended what any three-year-old can do is brilliant. This does n’t compete with or replace Christianity and its symbols, it reinforces them.
If one wanted an entire society to forget about Christ’s Last Supper, one may choose the public’s regular plan: the memoryhole. However, that appears to be already occurring for the Paris heresy show, with clips of this huge event curiously difficult to find online.
Now, some Westerners know practically anything about their creative, spiritual, and cultural heritage. In earlier decades, varying-quality reproductions of the popular Last Supper artwork graced many homes by the dining table. This was an archetypal offer from a culture that was well-understood to Christ to attend and love every meal, a sign of the sanctifying feast that Christians practice in the Sacrament.
In the Last Supper, and all administrations of what Christians call the Sacrament ( or Communion ) thereafter, Christ Himself gives “us Christians to eat and to drink” the” true body and blood of our Lord Jesus Christ under the bread and wine”, as clearly explained by” the holy Evangelists Matthew, Mark, Luke, and St. Paul”. This act of obedience to God produces forgiveness of sins, devotion, and eternal salvation. Every Christian chapel services revolves around this place, which is the foundation of every other component.
Actually though Christianity is the nation’s largest faith and the one that created Western culture, most Westerners now know almost nothing about Christianity, including this key theory. The shrewd thing for Christ-haters would have been to preserve the Last Supper pictures in the social roof, with the sand animals, doctrines, and two-parent atomic families. Millions of people search” Last Supper” and learn about this fundamental principle of faith rather than a cruel urge to hate their self-chosen enemies.
A Dance for Rivals
In many other techniques, the Last Supper blasphemy display was conceptually and metaphorically intriguing. The sex performers performed in vogue poses, according to a Renaissance art expert, to The New York Times. Voguing is a form of queer dance that was once popular. It also, Vox says in a 2017 explainer, has a violent undertone: It’s” an extension of throwing shade. Instead of fighting, two people would settle their beef on the dance floor”.
A dance that, in their interpretation, evokes social war was used by these sex performers in Paris to attack a fundamental Christian theme. Queer activists frequently support the Bible’s claim that queer sex is an act of aggression against God in an era in which Christians and their institutions are tempted to accommodate what God calls sinful. Even when trying to be anti-Christian, these activists reinforce Christianity’s messages.
Long History of LGBT Animus Against Christians
Anyone who has n’t paid attention for the past 50 years to the shock that the Paris Olympics opening featured a tableau of sex performers blaspheming Christianity. Public homosexual activism has always been blatantly and purposefully blasphemous, as I have documented in my most recent book. While it’s Islamists who give death sentences to homosexuals, not Christians, Western queer activists still always make Christians their top target.
To give just one prominent example, the creator of the original Pride flag, Gilbert Baker, was part of the Christian-hating drag provocateur group The Sisters of Perpetual Indulgence. They’re known for publicly desecrating just about every Christian symbol possible, including nun habits, the Stations of the Cross, and the Crucifixion.
Baker has fought against Christ hatred his entire life, including his portrayal of him as” Pink Jesus” at the 1990 International Lesbian and Gay Freedom Day Parade. There, I describe in my book:” He marched covered in pink paint, wearing pink high heels, and with an American flag loincloth tacked to a crucifix with a sign that read,’ Martyrs for Art.’ A topless woman and a drag man were marching next to him.
So while the recent tenth of a sudden rise in rainbow porn in the country may seem unanticipated, queer activism has always been a part of public “art” events like the Paris Olympics ceremony. The fascinating thing is that their hatred of Jesus Christ reinforces everything he teaches, including that His followers will be hated and persecuted, just like He is. Their very hatred fulfills Christ’s prophecies.
Worshipping Sex
In place of the food, a statue of the ancient Greek “man-god” Dionysus was also displayed on the Paris display. ( Please do n’t tell me I need to explain that symbolism. ) Before what the Associated Press called” the beginnings of a menage à trois,” he proceeded to sing about his genitalia.
Dionysus is the god of, among other things, sex and wine. Another very clear symbolic sign that queers worship and consume the phallus is the removal of Christ’s body and blood from the Last Supper table with an overtly phallic figure. I did n’t communicate that, they did.
Yet again, even that retrograde paganism ca n’t help but reinforce Christianity. In Greek legend, Dionysus also dies, is entombed, comes back to life again in the spring when the vines awaken, then feeds the people wine. Dionysus is a distorted precursor to Christ, according to the theologian and author C. S. Lewis. The death and resurrection of a god are two stories and legends that are intertwined with gods who grow up. According to Lewis, these figures, which are present in a wide range of cultures, demonstrate that Christ is the fulfillment of all of humanity’s desires and desires, the “myth become fact.”
Reversing the historical and archetypal trajectory of the imperfect and mythical Dionysus to the actual, perfect perfection of Christ is a call for reincarnation of the West, something that my colleague, John Davidson, skillfully addresses. Just a quick note: According to John, it’s self-described progressives who want to return to pagan religion, which includes mass murder and hatred for human life. In the name of “love and inclusion”, these figures ooze exclusion and hatred.
Anti-Christian queer bigotry is rooted in a deep resentment toward Christianity’s recognition that men and women were created as distinct halves of humanity, and that two men who are naked together cannot perform the same actions as a man and a woman who are naked together. Because men and women have different sexual body parts, there are various body parts involved.
Biology is not bigotry, but desecrating Christianity’s sacred symbols at every turn certainly is. God has the last laugh, though, because even when people blaspheme, they reinforce what God says. Another indication that Jesus is God and that Christianity is real. He has created the framework within which everyone lives, and even those who detest it are unable to leave.
