You know how much I hate to say I told you so. I have never been more vindicated in not watching the Olympics

than I was on Friday night when the Olympics ceremony kicked off in Paris by mocking God. The ceremony culminated in a

parity of the last supper, replacing the incarnate Lord with some sort of

astral witch and replacing the Apostles with a bunch of drag queens and similar devians,

one of whom had his genitals hanging below his costume next to a child.

Unlike the television networks, I have decided to blur this image because it's sacrilegious

and also just generally revolting. The homosexual leftist who put the display together,

Thomas Jolly, denies that the tableau was meant to evoke the display together, Thomas Jolly, denies that the table was meant to evoke the last supper.

Instead, we are now told by the scene's apologists, it was meant to call to mind the feast of the Gods by the 17th century Dutch painter Jan Van Bileert.

Or else it was meant to call to mind preparations for the wedding banquet of Cupid and psyche by the 16th century

Italian engraver Diana Scultory. These alternative interpretations are pretty weak.

One because no ordinary person would recognize those

paintings, whereas everyone recognizes the last supper, but two, because the

tableau clearly bears greater resemblance to the last supper.

One of the most distinctive features of which is that the dinner guests are all seated,

like in the tableau, but unlike in those other works, on one side of the table.

The fact that the Tablo's defenders can't even agree on which work it was supposedly based on

tells you the whole defense is disingenuous.

Now, the sacrilegious depiction certainly was pagan.

The Olympics is a late 19th century revival of ancient pagan games and it includes lots of

pagan imagery.

As I mentioned last week, the Olympic torch relay begins with a reenactment of

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