God has the last laugh, though, because even when people blaspheme, they reinforce what God says. It’s another clear indicator that Christianity is true and Jesus is God. He has created the frame that we all live inside, and even those who hate it cannot escape.

Friday’s drag-queen parody of Christ at the Paris Olympics opening shows yet again that people who hate Jesus just can’t escape His art, archetypes, created realities, or authority.

The exhibition replaced Christ in the iconic Leonardo Da Vinci painting with a queer activist who describes herself as “a fat, Jewish, queer lesbian” and his disciples with cross-dressing sex performers. It immediately prompted an international backlash that can’t benefit queer acceptance. Neither can the performance, which portrayed queer people as creepy sex maniacs.

The show also backfired symbolically. In their attempts to slime what they see as their enemies, queer activists reinforced things they’re trying to destroy.

The Last Supper on Display

The most obvious demonstration of this is the derivative nature of the “art.” The best the queer Paris Olympics “artistic director” and sex performers could come up with is badly deforming others’ artistic triumphs. They didn’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 doesn’t compete with or replace Christianity and its symbols, it reinforces them.

If one wanted an entire civilization to forget about Christ’s Last Supper, one would adopt the left’s usual strategy: the memoryhole. Indeed, that seems to be already happening for the Paris blasphemy show, with clips of this massive event oddly difficult to find online.

Today, few Westerners know almost anything about their artistic, religious, and cultural heritage. In earlier generations, varying-quality reproductions of the famous Last Supper painting graced numerous homes by the dinner table. This was a culturally well-understood archetypal invitation for Christ to join and bless every meal, a symbol of the eternal feast Christians enjoy 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, faith, and eternal salvation. It is the high point of every Christian church service around which all other elements are arranged.

Even though Christianity is the world’s largest religion and the one that created Western civilization, most Westerners today know almost nothing about Christianity, including this central doctrine. The savvy thing for Christ-haters would have been to keep the Last Supper imagery in the cultural attic, with the dust bunnies, catechisms, and two-parent nuclear families. Instead following the sadistic urge to hate on their self-chosen enemies has millions searching “Last Supper” and learning about this keystone of faith.

A Dance for Enemies

The Last Supper blasphemy display was thematically and metaphorically interesting in many other ways. A Renaissance art expert noted to The New York Times that the sex performers made vogueing poses. Voguing is a dance that originated among queer people. 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.”

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