Paris Olympics 2024 Under Fire for Opening Ceremony Parody Scene Featuring Drag Queens

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ICARO Media Group
Politics
29/07/2024 23h56

Organizers of the Paris Olympics 2024 have issued an apology following the controversy stirred by a scene during the opening ceremony that seemed to parody Leonardo Da Vinci's "The Last Supper" with drag queens. The depiction drew criticism from certain U.S. religious and conservative leaders, as well as right-wing figures, accentuating ongoing debates surrounding drag performances.

Notably, social media users were quick to note that the Olympics' rendition of "The Last Supper" is not the first parody of the renowned Da Vinci painting, which itself has frequently been used as a subject of satire in media. Television series like "The Simpsons," "Billions," and "The Sopranos" have employed variations of the artwork, often featuring celebrities in the role of Jesus, ranging from Freddie Mercury to Marilyn Monroe.

In recent years, drag queens have become a focal point of right-wing criticism, coinciding with a broader pushback against companies promoting LGBTQ inclusivity and the introduction of anti-trans measures in certain GOP-led states. Anti-trans legislation, such as bans on trans students using facilities aligning with their gender identities, has sparked notable contention. The protests against drag queens have partly emerged in response to events like Drag Story Hour, which some Republican lawmakers unjustly claim sexualize children. In 2022, House Republicans even presented the "Stop the Sexualization of Children" act, an effort subsequently deemed baseless and bigoted by the Anti-Defamation League.

Despite denouncements of claims suggesting the grooming of children through drag events, opposition and disruptions have prevailed, leading to the cancellation of several events, including a 2022 function in San Francisco that was interrupted by the far-right Proud Boys group. The unfolding events reveal a broader cultural and political clash concerning LGBTQ representation, traditional values, and the boundaries of artistic expression.

The views expressed in this article do not reflect the opinion of ICARO, or any of its affiliates.

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