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To get our heads around the farce that is the 2024 Paris Olympics, let’s start with another farce, Fawlty Towers which, according to the BBC, is “the British sitcom by which all other British sitcoms must be judged, Fawlty Towers withstands multiple viewings, is eminently quotable (‘don’t mention the war’) and stands up to this day as a jewel in the BBC’s comedy crown”. Leaving aside, if we can, that the ‘don’t mention the war’ episode was banned in Germany because of its anti-German sentiment and that some of our South Asian friends took umbrage at some other clearly racist parts of the series, the secret to Fawlty Towers is its tight writing around the tried and tested farcical tropes the series fed off.

Contrast that tight script with the opening farce of the French Olympics, where a flotilla sallies down the Seine in the pouring rain and Barbara Butch, an obese Eddie the Elephant Jewish lesbian, gets to pose as Jesus in a mockery of Da Vinci’s depiction of Jesus’ Last Supper.

In thereby succeeding to mock athletes, aesthetics, religion and morality all at the same time, Butch and the army of parasitical transvestites, who mocked all that is good and holy alongside her, showed the Olympics are now nothing more than an over-hyped farce gift wrapped in the tawdriest of rainbow coloured freaks. Not only do these transexual parasites lack talent, but they lack taste as well. What, for example, was the deal with showing a supposedly headless Marie Antionette gallivanting about the stage, given that France’s last Queen Consort, who was only 18 when she was martyred, was a very minor figure in French history, when compared to Joan of Arc, Coco Chanel, Marie Curie or the inestimable Edith Piaf herself?

Although the Russophobes of the International Olympic Council lied that this farce was not a mockery of the Last Supper but was a re-enactment of the ancient Roman Bacchanalia, where the depraved would get as drunk as skunks, such behaviour has no place in the Olympics, where the supposed mission is encapsulated in the Faster, Higher, Stronger motto of the modern Olympics rather than the eat as many Big Macs as you can stuff into your fat mouth that Ms Butch symbolises.

Faux mission statements aside, the real mission of the modern Olympics is to enrich the main sponsors and to convey NATO’s message of top down control to the world. Forget the terror campaign the IOC, working on NATO’s orders, have waged against athletes from Russia and Belarus, and read this recent SCF article about the Olympian security measures France and its NATO allies implemented to guard this grotesque Eddie the Elephant figure, as she mocked the world’s Christians, as well as what remains of France’s aesthetics.

Given that France is already a powder keg, this is not to say that some security was not necessary to protect Eddie the Elephant and Israel’s athletes, whose gung ho views on Israel’s wars have been widely disseminated.

Although I recently discussed the situation of Jews like Eddie the Elephant in today’s France, their situation is made far more precarious in high profile events, like the Olympics, especially when we recall the 1972 Black September massacre of Israeli athletes at the Munich Olympics, an event Adidas has resurrected in the most bizarre way, when it cancelled a contract with top model Bella Hadid on racist grounds.

After Hadid was hired to help Adidas sell their 1972 Munich Olympics retro line, the usual suspects objected because Hadid is half Palestinian and Palestinians are haram. But Hadid was hired, not because she was an athlete and less still because she is Palestinian, but because she is a babe, and babes are hired to help move merchandise to fellow babes, who will win few Olympic medals in their 1972 retro shoes.

Because the Munich Olympics is famous for American Zionist Mark Spitz displaying his mastery in the pool, and for the great Belarusian patriot Olga Korbut, POTUS Nixon’s favourite who wooed generations of young girls to gymnastics, the Olympics, Munich 1972 included, is as much the property of American Republicans, American Zionists, Belarusian patriots and Palestinian models, as it is of entitled Israelis, whose relative under-performance at the Olympics can be explained by their adherence to the Zionist ideology, which has always stressed political supremacy over frivolous games devoid of political purpose.

Although most of us couldn’t care less who Addidas gets to flog their 1972 retro crap, Israel must care because, in their vista, Palestinians must be invisible in the Olympics and on the catwalk, as well as in every other walk of life. And, because under performing Israel can dictate to Adidas what babes they can hire and what babes they cannot hire, that is another reason why the French Olympics are, at best, a French farce.

Although farces first appeared around the 5th century BC, when the Greek playwright Aristophanes wrote his comedies with larger-than-life characters, ridiculous situations, and oodles of vulgar humour to keep the Athenians giggling, it was left to the Roman playwright Plautus to master the convention of mistaken identity. No less a figure that William Shakespeare adapted Plautus’ Brothers Manaechmi into his Comedy of Errors, which is the best-known Renaissance era farce.

The term “farce” derives from a French word meaning “to stuff” and was used to describe comic bits inserted (“stuffed”) in between scenes in religious plays. Although farce gradually emerged as its own theatre form in 15th century France and in 16th century England, it is important to say that this Parisian attempt at art is not even farce. It is garbage.

But so too, by contagion, is the entire Olympics. Let’s revert to the granddaddy of them all, Hitler’s 1936 Olympics where, today’s IOC jokers tell us, Jesse Owens stole the show not only by winning four gold medals but by sticking it to Herr Hitler who, like Franco, Mussolini and Eddie the Elephant, had no interest in sport, except in so far as he could hijack it for his own madcap ideas.

Although Owens was a star performer in Berlin, it is important to note that it was racist America and not Hitler’s Germany, who treated him with the utmost disrespect by forcing him to race against horses just to make ends meet.

At least Owens could make a living, something the IOC denied to Tommie Smith and John Carlos for protesting against America’s systematic racism when they won medals at the 1968 Mexican Olympics; as Australian Peter Norman, who won the silver medal and who supported their protest, was also persecuted by his fascistic government, the IOC should save us all their syrupy lectures.

The Berlin Olympics are more remembered for Olympia, the homo erotic documentary on them, which the cinematic genius Leni Riefenstahl produced almost as a follow up to her 1935 Nazi classic Triumph of the Will. Though overt anti-semitism is absent from both of those classics, they each reek of the homo erotic sensuality of writhing, oiled-up and sweating male hunks that lurked in the subconscious of Hitler and his camp followers, just as this French farce reeks of the worst excesses of Weimar and de Sade.

Just as those earlier gay documentaries Hitler commissioned set out to sublimely tell us something, so also does Eddie the Elephant’s French farce. Drag queens mocking The Last Supper, a decapitated head singing, a bearded ‘woman’ dancing provocatively, a naked Smurf with a king sized erection and ‘gagging’ children in their midst all send out a message that is, in its own way, as portentous as Olympia and Triumph of the Will were before the Wehrmacht goose stepped into Austria and Sudetenland.

Although there might be no Panzer tanks crossing into Poland as of yet, other, equally dark forces are on the move. Though we could here wax on about this hedonist glorification of Sodom and Gomorrah, just check out this video on drug doping czar Vincent Conte to see how easy it is to systematically cheat at these farcical Olympics.

But it is not just the Americans. Here is an account of the Irish being caught drugging their prize winning horses. When one considers the money to be made from stud fees, no wonder the Olympics is little more than a farcical Dick Francis crime thriller. Though I wrote back in early July about the risk of these Olympics descending into a French farce, it is much more mediocre than that. Whereas French farce had rhyme and reason, this shoddy effort has none. It is a tacky effort to boost the bottom line of tacky companies like Adidas and the tackier agenda of Macron and his husband, and all others who swear by NATO’s cultural wars agenda. And, though I wrote another piece in late June pining for Olympic Games gone by, those games are long gone and it is time to pull the plug and let go of the entire circus.

Boy, was I on the money when I wrote that “I would much prefer to watch this Russian children’s troupe show their mastery of Irish dancing” than to watch these French Olympians, who do not even meet the basic standards of the simplest French farce! We can either wallow in this bread and transvestite circuses crap, or we can seize the day and the initiative. We should reject not only Adidas and their 1972 (or is it 1936?) retroism but we should also reject all the LGBT tinsel they marinate it in.

Meanwhile, if you must follow these uneven contests, here is the medal tally table so far. Commiserations to Fiji for missing out on gold in the rugby 7s, and to Mongolian judoka Baasankhuu Bavuudorj for losing out to Japan’s superlative Tsunoda Natsumi. And, Baasankhuu, if you are reading this, you take a much better photo than does Eddie the Elephant, who could only ever upstage you in farce. Though you are a credit to Mongolia, to judo and to the world, heaven help you when you get back to Ulaanbaatar and you have to explain to the good folk there what a fat and fit for nothing farce France is.