Organisers of Paris 2024 have extended their apologies to Catholics and various Christian groups who were upset by a garish tableau in the Olympic Games opening ceremony that mocked Leonardo da Vinci’s iconic painting, The Last Supper.
The segment, which resembled the scriptural scene where Jesus and his apostles shared a final meal prior to his crucifixion, featured drag queens and a performer dressed as Dionysus, the Greek god of wine, which led to discontent among the Catholic Church and the religious right in the United States.
“There was never any intention to offend any religious group. [The opening ceremony] aimed to celebrate community tolerance,” said Paris 2024 spokesperson Anne Descamps during a press conference. “We believe we achieved that goal. We sincerely apologize if anyone was offended.”
France has a rich Catholic tradition but also a long-standing history of secularism and anti-clericalism. Blasphemy is legal, viewed by many as a crucial aspect of freedom of expression. Advocates of the tableau applauded its message of inclusivity and acceptance.
The Catholic Church in France expressed its disappointment over a ceremony that “included moments that mocked and derided Christianity.”
Monsignor Emmanuel Gobilliard, a representative of the French bishops for the Games, mentioned that some French athletes struggled with sleep due to the uproar following the controversy.
Archbishop Charles Scicluna, the highest-ranking Catholic official in Malta and part of the Vatican’s influential doctrinal office, stated he had reached out to France’s ambassador in Valletta to express his grievances about the “unnecessary insult.”
In a correspondence with the ambassador shared on X, he wrote: “I want to convey my distress and profound disappointment regarding the insult to we Christians during the opening ceremony … when a group of drag artists parodied the Last Supper of Jesus.”
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Some commentators suggested that this controversy exemplified the ongoing culture wars of the 21st century, intensified by a 24-hour news cycle and social media.
Thomas Jolly, the artistic director behind the extravagant opening ceremony, clarified that he did not aim for any religious subversion. “We wanted to speak about diversity. Diversity means being together. Our goal was to include everyone, it’s as straightforward as that,” he said on Saturday.
