80,000 people are waiting in line for hours, Peter Thiel gets to see Bayeux Carpet earlier.

An estimated 80,000 people queued for hours to secure tickets for the upcoming exhibition of the Bayeux Tapestry at the British Museum, which opens to the public on 10 September. However, tech billionaire Peter Thiel was granted early access to view the historic artifact before its official debut. The museum allowed Thiel, who has been criticized for his business ventures and ideological leanings, a private tour of the still-in-progress exhibition space in mid-August, according to reports. The Bayeux Tapestry, a nearly 1,000-year-old embroidered cloth depicting scenes from the Battle of Hastings in 1066, has been loaned to the United Kingdom after years of negotiations with France. It will be displayed publicly starting 10 September, with visitors required to book time slots through the museum’s online platform. During peak times, queues reportedly reached up to 80,000 people waiting to reserve their viewing time. Charlotte Appleyard, head of development at the British Museum, led Thiel through the exhibition area during his visit in mid-August. While private tours for high-profile individuals are common practice in museums, Thiel's presence has drawn particular attention due to his association with the technology firm Palantir, known for its surveillance software. His controversial views have previously sparked controversy, including the cancellation of his planned appearance at the Vienna Festival this year over concerns about his ideological stance. The museum emphasized that Thiel’s visit did not consume any of the limited “light hours” allocated to the tapestry for conservation purposes. These hours are crucial because prolonged exposure to light can damage the delicate fabric. Additionally, the museum stated that no financial contribution was made by Thiel for the privilege of viewing the tapestry ahead of the general public. The decision to grant Thiel early access has raised questions among some observers, particularly given his history of contentious public appearances and business practices. Critics argue that such preferential treatment could undermine public trust in the museum’s commitment to equitable access to cultural heritage. Others suggest that the museum’s decision may reflect broader trends in how institutions manage relationships with wealthy donors and influential figures. The Bayeux Tapestry itself has long been a subject of historical interest and debate. Its intricate embroidery provides a visual narrative of one of the most pivotal moments in European history, the Norman conquest of England. Scholars continue to study its origins, authorship, and accuracy in portraying events. The tapestry’s journey to London marks a significant moment in its international display history, having previously been housed in France and other locations around the world. Museum officials have defended the decision to allow Thiel’s early visit, stating that it does not detract from the public’s opportunity to see the tapestry. They noted that the private tour was conducted under strict conditions to ensure the artifact’s preservation. The museum reiterated that no financial transaction occurred between Thiel and the institution, and that the visit did not interfere with the scheduled opening date or the availability of tickets for the general public. As the exhibition approaches its official launch, the British Museum faces ongoing scrutiny regarding its policies on private access and donor relations. The incident involving Thiel underscores the complex balance museums must strike between maintaining public engagement, ensuring conservation standards, and managing interactions with influential individuals. The museum continues to prepare for the anticipated large crowds, emphasizing that the primary goal is to provide accessible and educational experiences for all visitors.