A theatrical performance featuring drag queens evoking Leonardo da Vinci’s iconic “The Last Supper painting has sparked a fierce debate following its inclusion in the Olympic opening ceremony over the weekend. While some hail the act as a bold celebration of diversity and artistic expression, others condemn it as a disrespectful parody of Christianity.

Despite the official Olympics X account captioning screenshots of the performance on Friday as a reference to the Greek god Dionysus, many were quick to run with the claims that it was a reference to da Vinci’s painting. For Republican Speaker Mike Johnson, it wasn’t just a mockery of “The Last Supper,” but an “insulting” portrayal of the “war on our faith and traditional values,” per his X post from Saturday.

The scene, which featured DJ and producer Barbara Butch, an LGBTQ+ icon, flanked by drag artists and dancers, was intended as a tribute to feasting and French gastronomy, according to the ceremony’s artistic director, Thomas Jolly. The performance was set against the backdrop of the river Seine, with a reference to Dionysus in the middle of the set, but perhaps the flooding of internet criticism painted a picture that insulted many Christians.

“That wasn’t my inspiration,” Jolly told BFM TV on Sunday, talking in French, dismissing the notion that the performance was a commentary on “The Last Supper” and instead referencing a celebration featuring Dionysus, who in the Olympics performance can be seen all in blue, revealed by a cloche. “Why is he there? Because he’s the god of feasting, of wine, and the father of Sequana, the goddess of the River Seine,” he continued.

However, religious groups condemned the segment, with the French Catholic Church’s conference of bishops deploring “scenes of derision” that they said mocked Christianity. The Anglican Communion in Egypt also expressed its “deep regret,” suggesting the ceremony could undermine the International Olympic Committee’s (IOC) sporting identity and humanitarian message.

The performance, staged during a segment highlighting cultural diversity, saw drag queens in elaborate costumes take on the roles of Jesus and his disciples. The act, filled with vibrant colors and dramatic flair, was met with a mix of applause and gasps from the live audience.

However, it was on social media where the controversy truly erupted. Critics, primarily from conservative and religious groups, voiced their outrage, accusing the organizers of trivializing a sacred Christian symbol for the sake of shock value. Some argued that the act was an affront to their faith and an inappropriate use of a platform meant to unify nations.

“The 2024 Paris Olympics has gone full Woke dystopian,” said writer and associate producer of Fox News Kyle Becker in a post on X on Friday. “The opening ceremony was filled with transgender mockery of the Last Supper […] The Olympics has made it clear that Christian viewers aren’t welcome.”

In response to the outcry, Paris Olympics organizers apologized to anyone offended by the tableau, while defending its underlying concept. Spokesperson Anne Descamps emphasized during an IOC news conference that there was never any intention to disrespect any religious group. She reiterated Thomas Jolly’s assertion that the scene was meant to celebrate community tolerance and send a message of love and inclusion.

Jolly himself explained to The Associated Press on Monday that his goal was not to be subversive, mock, or shock, but rather to promote a message of unity. Despite the controversy, Paris 2024 organizers believe that the overall ambition of celebrating diversity was achieved, citing positive feedback from polls. However, they expressed sincere apologies to those who took offense.

On the other side of the debate, supporters of the performance argued that it was a powerful display of LGBTQ+ representation and a celebration of artistic freedom. They praised the drag queens for their creativity and courage, highlighting the importance of showcasing diverse forms of expression on a global stage.

Many of the performers went on to defend their artistic vision, emphasizing their intention to celebrate diversity and challenge traditional norms. They argue that their act was not meant to offend, but rather to spark conversation and promote understanding. U.S. and French supporters in particular have darted their eyes onto one queen during the performance: Nicky Doll, a French drag queen who competed on season 12 of RuPaul’s Drag Race—the American show of the now-global phenomenon of a franchise.

Despite placing 12th in a 13-member cast, Doll went on in 2022 to host Drag Race France—the French adaptation of the reality show franchise—an extremely prestigious position to be given, especially for a competitor who objectively did not perform well. So far, she has hosted all three seasons of the show.

To her over one million Instagram followers, Doll posted about the performance, saying “I had a dream, and that dream came to life yesterday. I had the dream that France would represent its people to the fullest on the world’s biggest stage, biggest show: The Opening Ceremony of the Olympics.”

In the post, she went on to thank her fellow collaborators—but not without acknowledging the discourse over the controversial situation where she wrote, “And remember, to the ones that had their feathers ruffled seeing queerness on their screen: WE AIN’T GOING NOWHERE 💋🩵”

The Olympics of balancing creative visions and respecting differences

This incident has rekindled the ongoing debate about the boundaries of artistic freedom and cultural sensitivity. While some believe that art should be unrestricted, even if it offends certain groups, others argue that respect for religious and cultural beliefs should be prioritized, especially in events of such global significance.

Several public figures have voiced their opinions on the matter. Beloved actress known to play D.J. in “Full House,” Candace Cameron Bure expressed disdain for the performance, stating on her Instagram page that it was “disgusting” to see the Christian faith be mocked. Many in her comments critiqued the 48-year-old, who herself is married to a two-time Olympic medalist, as well as her brother-in-law and father-in-law.

But it was her on-screen sister, Jodie Sweetin, known as Stephanie from “Full House,” who subliminally set the record straight that, again, the drag performance harkens to Greek mythology and not Christianity.

“Tell me you don’t know about art or history, without TELLING me you don’t know about art and history,” she wrote in her Instagram story on Monday.

As the debate rages on, it remains to be seen how this incident will impact future Olympic ceremonies and the representation of LGBTQ+ culture in mainstream media. After all, this Olympic season brought on a new record of 191 openly queer, trans and nonbinary athletes. What is clear, however, is that this controversial performance has left a lasting impression on viewers worldwide, igniting a passionate discussion about the role of art in society and the importance of respecting diverse viewpoints.

Sweetin also shared a post by Matt Bernstein, a queer, Jewish online culture commentator, on her story that reinstated the real inspiration and meaning behind the Olympics drag performance. In a series of memes about the irony of homophobia and the gay undertones of the Olympics throughout history, Bernstein leaves his followers with a burning question.

“And even if you thought it was a Christian reference—what’s the harm?” he wrote on a post from Monday. “Why is it a “parody” and not a tribute? Can drag queens not be Chistian too?”