Divine will in Christianity

• The methods of advertising international Freemasonry differ, but they always agree in breathtaking scenes of ridicule and mockery of Christianity during the opening ceremony of the Olympic Games in Paris, which sparked. dissatisfaction and mixed reactions, under the claims of freedom of expression, amid the vulgar atmosphere of the show, which included a satanic atmosphere in the form of hard rock music.                                 

  

  Photo of the Last Supper from the 2024 Paris Olymp

                       
• There are specific scenes, including explicit scenes that began with a group sitting at a table, including several drag queens, which reminded us of the Last Supper, of Jesus Christ with his disciples, and one of the actresses was wearing a large silver headdress resembling a halo, as is the case in the depiction of Jesus The messiah.
• With a smile, she drew a heart shape while the dancing group posed as pupils in poses that were interpreted as homosexual overtones, before moving into a dance routine, in references to the LGBT community and a distortion of a great work of art. The radical reinterpretation of works of art reflects that it is not appropriate for such a global event, and that there are limits that must be respected.
•  In deep philosophical contemplation, we find ourselves in front of a painting in a complex series of symbols and connotations, which goes beyond just being a sporting or cultural display, but translates into profound ideological transformations in contemporary Western civilization and not just gradual ideas. Western values ​​have long been considered rejected. Increasingly popular in many countries around the world, artists perform on top of monuments located on river banks and on bridges, demonstrating its symbolism behind the scenes.

• What is strange is that it was exaggerated and worked to belittle the status of athletes, not only being satisfied with these obscenities, but spreading “pedophilia” and involving a child in their excessive sexual performance of the Last Supper painting, which is a serious psychological disorder represented by a person being sexually attracted to children, mutilating them, and harming them.                                                             

  

  Dirty and bad scenes from the 2024 Paris Olympics

  
  
• The ceremony carries hidden political messages, which reflects that the event is less neutral, and is a demonstration of the classic painting and its influence on the traditional interpretation of the artwork, which affects the relationship of religion with art and sexual identity, and rereads the painting from a new perspective, and its danger lies in leniency and giving legitimacy to tolerance and acceptance. Going beyond traditional gay restrictions, passing the agenda is clear. The LGBT references in the painting can be read as a symbol of liberation from social restrictions, and the search for true identity regardless of one’s sexual orientation.     
• The scene begins as an intertwined story, then in the end it reflects a unified message, which is the narrative style that reflects the complexity of contemporary human reality, with the intersection of ideas and identities. We find the golden calf of Samaritan, which symbolizes the presence of the Antichrist. It goes beyond traditional cultural display to become an ideological discourse directed by “secular liturgy.” of neoliberal civilization, such as individual competition, economic growth, consumption, and focus on desires that contradict religious concepts, and therefore the presentation is considered a coup against the traditional Christian model, replacing it with a new model that distorts thought and perhaps announcing a new system of challenge to religions in a scene that reflects the huge tensions and divisions that they experience. Contemporary Western societies with double standards.   
•  The committee’s announcement that the display symbolizes Dionysus: the god of wine and ecstasy in art is not justified, as it is known that.                                                  

  

  Freemasonry and homosexuality in the 2024 Paris Ol

•  Dionysus, the Greek god of celebration and theater, carries within it deep symbolism related to nature, fertility, transformation, and ecstasy, and this meaning did not appear in the satirical show, with the features of long hair, a wreath of grapes or a vine, and clusters as a symbol of his gifts, a flute, and tigers. In this context, the sporting event becomes a metaphor from Greek philosophy. It expresses the new identity that celebrates everything abnormal, in an attempt to change perceptions of nature in a blatant challenge to God himself. Rather, the closest thing to the scene is a metaphorical combination of Christ directly in a cheap marketing attempt to embody Baphomet, who is depicted with a human body, but may contain other animal traits such as Split legs or tail, which stood out in the display.
• Perhaps the representation of the lone rider on a pale horse is a direct reference from the Book of Revelation: “And I looked, and behold, a pale horse, and the name of him who sat on it was Death, and Hades followed after him. And to them was given power over a fourth of the earth, to kill with the sword, and with famine, and with death, and with the beasts of the earth.” Revelation 6:8.       
• The radical transformations in contemporary Western identity are isolated from the changes occurring in the rest of the world. Cultural and technological exchange contributes to the formation of new and diverse identities, but the radical change in contrast to previous celebrations represents a transformation in lifestyles and social relations, which greatly affected individual and collective identity. It is clear that the Olympic Games have developed significantly since their launch in Paris in 1900, and have become It combines the New World Order with a focus on children and youth. In contrast, the concerts of 1900 and 1924 were more modest and conservative, with a greater focus on individual sports and a simple infrastructure. They developed into a promotional platform, and so we see Paris in 1900 laying the foundation stone. Paris in 1924 was built on it, and another Paris in 2024 is nothing but a tool to manipulate minds and direct them towards certain goals that represent abomination and blasphemy.

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