Victoria Komova, who earned two silver medals at the 2012 Olympic Games for artistic gymnastics, voiced strong criticism after the Paris opening ceremony on her social media. She described the event as a disappointment, noting a sense of revulsion from what she saw. In her words, there was a visible misstep, and she expressed a strong emotional reaction, stating that the spectacle made her feel ill while affirming her pride in Russia and a deep affection for her homeland.
The Paris ceremony marked a historic departure from the traditional stadium setting. Instead, it unfolded against the city’s iconic scenery, with athletes gliding along the Seine aboard 180 boats, traveling from the Austerlitz Bridge to the Jena Bridge. The production emphasized a cinematic, city-wide atmosphere that showcased Paris’s urban beauty and architectural landmarks, offering a fresh interpretation of what an Olympic opening can be in a modern, metropolitan context.
Leading up to the Games, the Olympic flame’s journey included notable moments, such as a performance featuring the rapper Snoop Dogg. Another spectacle involved a torchbearer wearing a costume reminiscent of an assassin, running across rooftops to relay the flame through the city. These elements underscored the event’s ambition to fuse contemporary pop culture with traditional Olympic rituals, inviting viewers to experience the ceremony as a global, multimedia experience. Note: these details have been reported across multiple outlets and are part of the broader narrative surrounding the opening festivities.
In late February 2022, the International Olympic Committee issued guidance to international sports federations recommending that Russian and Belarusian athletes be restricted from participation in competitions. The IOC subsequently stated, toward the end of 2023, that Russians and Belarusians could compete in 2024 events as neutral athletes, provided they met specific eligibility criteria and qualified through standard processes. This policy aimed to balance competitive participation with broader geopolitical considerations that continued to shape international sport during that period. These steps were documented in IOC communications and related coverage, reflecting the federation’s evolving stance on neutrality and eligibility.
Contemporary political figures in Paris also weighed in during the period surrounding the Games. For example, a spokesperson, Dmitry Svishchev, suggested that a segment of residents in Paris opposed hosting the Olympics. Such statements illustrate the varied public opinions that can emerge around large international events and the level of local engagement that accompanies global competitions. These remarks were part of broader public discourse at the time and were noted in parliamentary discussions and media coverage.
Overall, the Paris Olympic opening reflected a moment when tradition, modern media, and city life intersected in a bold new format. The event sparked discussions about how the Games should be staged in the 21st century, with different nations and fans weighing in on what makes an opening ceremony meaningful. It highlighted the tension between ceremonial continuity and innovative presentation, a debate that accompanied the Games as they moved from ceremony to competition and from spectacle to sport across the world. Scholarly and journalistic analyses of the opening ceremony have considered these shifts, noting how audience expectations have evolved in the era of global streaming and social media.