Jill Soloway and the “Transgender” Agenda, Part 2

Brenton Sanderson


Part 1.

Promoting the idea of “gender fluidity”

The ideological glue that holds Jill Soloway’s Transparent together is the deconstruction of the whole concept of gender. What does it mean to be a man? What does it mean to be a woman? As one character in the show puts it, “We’re just a bunch of bodies, that’s it. No penis, no vagina, what does it matter?” According to Soloway, “The show questions the binary; trans people question the binary. Trans-ness demands that people live in the gray. The word ‘trans’ is about traveling the space between the binary. Judaism/feminism/trans politics — they can all really be woven together. Living at that ground zero place of otherness is inspiring to me.” Soloway is passionate about normalizing the concept of “gender fluidity”: Paste Magazine notes that: “In Transparent sexual identity loses its ‘statehood’ and becomes fluid, treated like an ongoing process with its own ebbs and flows.”

As Dr. Paul McHugh, the former psychiatrist-in-chief for Johns Hopkins Hospital, noted, the reality, as distinct from Soloway’s ideologically-driven fantasies, , is that far from being a normal healthy behavior, “transgenderism” is a “mental disorder” that merits treatment. Noting that changing sex is “biologically impossible,” McHugh observes that “people who undergo sex-reassignment surgery do not change from men to women or vice versa. Rather, they become feminized men or masculinized women. Claiming that this is civil-rights matter and encouraging surgical intervention is in reality to collaborate with and promote a mental disorder.”

Dr. Paul R. McHugh

Dr. Paul McHugh

Those who believe that their maleness or femaleness is different to what nature assigned to them biologically suffer from “a disorder of ‘assumption’” which is similar to a “dangerously thin” person suffering from anorexia who looks in the mirror and thinks they are “overweight.” McHugh notes that: “This intensely felt sense of being transgendered constitutes a mental disorder in two respects. The first is that the idea of sex misalignment is simply mistaken — it does not correspond with physical reality. The second is that it can lead to grim psychological outcomes.”

A recent study showed that the suicide rate among transgendered people who had reassignment surgery is twenty times higher than the suicide rate among non-transgender people. McHugh cites studies, from Vanderbilt University and London’s Portman Clinic, of children who had expressed transgender feelings but for whom, over time, 70 to 80 percent “spontaneously lost those feelings.” Particularly noteworthy given propaganda like Transparent is the subgroup which

consists of young men and women susceptible to suggestion from “everything is normal” sex education, amplified by Internet chat groups. These are the transgender subjects most like anorexia nervosa patients: They become persuaded that seeking a drastic physical change will banish their psycho-social problems. “Diversity” counselors in their schools, rather like cult leaders, may encourage these young people to distance themselves from their families and offer advice on rebutting arguments against having transgender surgery. Treatments here must begin with removing the young person from the suggestive environment and offering a counter-message in family therapy.

Given these findings, McHugh claims that those who enable or encourage the “transgendered” to identify as such are validating and reinforcing a mental disorder.

Soloway’s Transparent plays exactly this role. One Jewish source relates an experience of a star of the show, Jeffrey Tambor, who won a Primetime Emmy Award for his role as Jewish-trans-parent Maura Pfefferman, who recently met some parents who told him:

“‘We love your show. … We really, really love your show.’ Their son called and said, ‘I don’t want to go back to softball anymore, please don’t make me go back.’  The parents said, ‘Why? What’s wrong?’ He [the son] said, ‘Daddy, mommy, I’m not a boy-boy. The parents asked, ‘What do you mean?’ And he said, ‘Mommy, daddy, when I grow up, I want to be like Katy Perry.’”

Tambor went on to say the parents listened, and all three of them watch the show together. “My father wanted me to be a teacher, and in a way, Jill Soloway and company, we’re sort of teaching about not fearing the other and not ostracizing people. I’ve always believed acting and laughter was instruction.” So perhaps Jeffrey Tambor became a teacher after all. Teaching us a lesson that may be hard for some to hear, but as Jews we understand what it is like to be “the other.” We know the pain of exclusion, the history of separation, and the fear of living in a world that sees us as outcasts.

While the Obama administration, Hollywood and the mass media are promoting “transgenderism” as normal behavior, McHugh notes that these “policymakers and the media are doing no favors either to the public or the “transgendered” by treating their confusions as a right in need of defending rather than as a mental disorder that deserves understanding, treatment and prevention.”

The assumption, promoted by Jill Soloway, Jenji Kohan and others, that gender is only in the mind regardless of anatomical reality, has led “transgendered” people to push for social and legal acceptance and affirmation of their own subjective “personal truth.” As a result, some states — California, New Jersey, and Massachusetts — have passed laws barring psychiatrists, even with parental permission, from striving to restore natural gender feelings to a transgender minor. McHugh notes there are “misguided doctors” who, working with very young children who seem to imitate the opposite sex, will administer “puberty-delaying hormones to render later sex-change surgeries less onerous — even though the drugs stunt the children’s growth and risk causing sterility.” He notes that such action comes “close to child abuse given that close to 80% of those kids will abandon their confusion and grow naturally into adult life if untreated.”

In 2012 the American Psychiatric Association announced a revision to its official guide to classifying mental illnesses — the DSM-5. The new highly-politicized DSM eliminated the term “gender identity disorder” in response to the pressure from LGBTQ activists. The previous diagnosis meant that a man who believed he was destined to be a woman was considered to have a mental disorder. The new DSM now only refers to “gender dysphoria,” focusing only on those who feel distressed by their gender identity. Gender dysphoria was only left as a diagnosis to ensure that a “transgender” person could still access “health care” if needed (e.g., hormone treatment and counseling). Many activists felt that the gender dysphoria diagnosis could be a powerful legal tool when challenging discrimination in health insurance plans and services.

These changes to the DSM were spearheaded by psychiatrist and psychoanalyst Dr. Jack Drescher, head of the APA group that approved the changes. One source notes that Drescher, the former editor of the Journal of Gay and Lesbian Mental Health, “grew up as an observant Jew in a kosher household.” On announcing the change, Drescher offered no scientific justification for the move but claimed that the change “reduced the amount of stigma and harm that existed before.” Another Jewish member of the working group, the transgender rights activist, Dr. Dana Beyer, was likewise only concerned with the sociopolitical impact (rather than the actual scientific validity) of the changes. Writing in the Huffington Post, she noted that “Our greatest accomplishment on the Working Group was reconceptualizing the state of ’being trans’ from a mental illness to a normal human variant.”

Dr. Jack Drescher

Dr. Jack Drescher

Like Drescher and Beyer, Soloway is aggressively pushing the transgender agenda, and, according to Vogue Magazine, “Transparent has gone a long way toward normalizing formerly foreign terrain for the American public.” One of the show’s stars, the Jewish actor Jay Duplass considers Transparent to be “at the forefront of a civil-rights movement, but in a way that has Jill’s irreverent, hilarious, deep, dark cloak over it. We’re not, like, touting, ‘Hey we’re changing the world for transgender people!’ We’re just making a great family show that’s weird and dark and funny but also part of this greater movement.”

In an interview Soloway claimed that: “My hope is that the show is going to be so emotionally, spiritually, sexually revolutionary that you won’t just watch it once,” while a journalist for the feminist Ms Magazine, noting the slyly subversive nature of Transparent, observed that: “I have long admired her work, not just for its entertainment value but for the layers of feminist questioning about sexuality behind it, which make her programming plug into the brain’s dopamine receptors all the more strongly.”

This is only the beginning

Soloway believes that, with regard to the revolution in gender identity that she is spearheading,  “we’re at the very, very, very beginning,” and is looking forward to when “we’re gonna look back at this moment 20 years from now and say, “Oh, remember when people had to only be male or female?” Soloway’s objective in producing shows like Transparent is “not to make all of the queer activists happy, because that’s really quite difficult, and it’s not really to change the minds of super-right-wing Republicans. It’s really to address this moveable middle. The largest group of people are in between those two poles, who really just need information.” For “information” read subversive propaganda which continuously chips away at the margins of White society and over time has an erosive effect — systematically breaking down heterosexual normativity to destabilize the homogenous bulk of the population.

Given the Jewish domination of Hollywood with their notorious ideological proclivities, it was inevitable that Transparent would be among the winners at the 2015 Emmy Awards. The show won awards for best television series comedy, and lead actor Jeffrey Tambor won best performance by an actor. In her acceptance speech, Soloway dedicated her award to “my trans-parent, my mapa,” and observed that, “The more I direct, the more I recognize that directing is kind of litigating for the way I see the world.” Unfortunately, very few people get to litigate how they see the world in the mainstream media — certainly not anyone who believes Whites have legitimate interests. Being liberal and Jewish certainly helps.

Since Jill Soloway’s series Transparent debuted on Amazon Prime in 2014, the conversation around the place of transgenderism in Western culture has radically shifted in a cultural Marxist direction. Transparent certainly led the way, but even Soloway is “astonished” by how it has “really shifted the world in a big way.” Transparent anticipated the most high-profile public gender transition in history — that of Bruce Jenner. Soloway’s show was promoting the “fluidity of gender and sexuality,” before Jenner’s public transformation into “Caitlyn,” and before Jenner asked us to call “her” Caitlyn on the cover of the Jewish-controlled magazine Vanity Fair. Soloway was delighted by Jenner’s coming out as transgender and revealed that she “actually had great conversations with Caitlyn and with Kim [Kardashian], awesome little moments where Kim told me that the family watched the show together. Caitlyn told me that she loved it.”

Since the first screening of Transparent, Facebook, another pillar of the Jewish-owned media, has introduced 56 custom gender options (which do not include male and female). Soloway noted that: “We were all sending that email around to each other. For us, I just think it was more proof that this seems to be so incredibly in the zeitgeist right now. Everywhere we look, people are talking about gender. So that was super-exciting.”

Transparent was also normalizing the “transgendered” before another Jewish-owned media giant, The New York Times, started running “Transgender Today,” a series of high-profile feature stories published under the byline of the Times’ editorial board. It was also setting the agenda before Jenji Kohan made Laverne Cox a household name as “a black trans woman playing a black trans character on the hit Netflix series Orange is the New Black.” Cox has since become a “cover girl,” for another Jewish-owned media outlet, Time magazine, putting a face to what it dubbed America’s “transgender tipping point” in an article by Jewish journalist Katy Steinmetz in its May 29 issue.

Steubmetz

Steinmetz has since followed up this article with a flurry of articles promoting the normalization of transgenderism, with titles like How transgender people choose their new names,” “Exclusive: Inside Miley Cyrus’ Photo Shoot With People Across the Gender Spectrum,” “Miley Cyrus: You Can Just Be Whatever You Want to Be,” “Meet TV’s Newest Transgender Star,” “The Case for Allowing Transgender Athletes in Youth Sports,” “Lawmakers to Introduce Historic LGBT Non-Discrimination Bills,” “Everything You Need to Know Over the Debate About Transgender People and Bathrooms,” “Why Transgender People Are Being Murdered at a Historic Rate,” and “San Francisco to House Inmates According to Gender Identity.” As Victoria Voss, writing for Red Ice Creations, notes:

Ever since Bruce Jenner decided he is a woman and appeared on the now infamous cover of Vanity Fair, not a day goes by that the public isn’t besieged with media coverage of transgender issues, specifically transgender children. It is pushed for the same reason that radical feminism, the homosexual agenda, and miscegenation is: to normalize the abnormal and to brainwash people via the media to believe that this is something very common when in fact it is one of the most disturbing agendas the Zionist elite have ever created. They want to convince parents that not only is it normal to change their child’s gender, but that they should put their child on hormone blockers before puberty, a process that some psychiatrists have pointed out could be physically and mentally harmful for the child.

The organized Jewish community is doing its part: In May of 2014 the Anti-Defamation League launched a “Curriculum on Transgender Identity” which provides “an opportunity for high school students to learn more about transgender identity and issues, the barriers faced by people who identify as transgender or are gender non-conforming and how we can make our schools safe and welcoming for transgender and gender non-conforming students.” For the ADL, no child is too young to be subjected to “trans-positive” propaganda. The ADL website features a list of books it strongly recommends for young children which include: George (“When people look at George, they think they see a boy. But she knows she’s not a boy. She knows she’s a girl”), 10,000 Dresses (“Every night, Bailey dreams about magical dresses but unfortunately, when Bailey’s awake, no one wants to hear about these beautiful dreams”), I am Jazz (“From the time she was two years old, Jazz knew that she had a girl’s brain in a boy’s body”), Jacob’s New Dress (“This heartwarming story speaks to the unique challenges faced by boys who don’t identify with traditional gender roles”), My Princess Boy (“Dyson loves pink, sparkly things and sometimes he wears dresses”), and When Kayla Was Kyle (“Can Kyle find the words to share his feelings about his gender — and can his parents help him to transition into the girl he was born to be?”).

I have previously noted how the one time child star Miley Cyrus, under the direction of her Jewish manager Larry Rudolph has transitioned from innocent child star to leading sluttish propagandist for complete sexual liberation and “gender fluidity.” She recently declared: “I am literally [sexually] open to every single thing that is consenting and doesn’t involve an animal and everyone is of age. Everything that’s legal, I’m down with. … I don’t relate to being boy or girl, and I don’t have to have my partner relate to boy or girl.” Cyrus recently launched a photography series focused on “transgender and non-binary people” in order to increase “trans visibility.”

Another show that seeks to normalize transgender people is the reality TV show I am Jazz which recently screened on TLC — a division of Discovery Communications which is headed by two Jews, Robert Miron (chairman) and David Zaslav (President and CEO). Another initiative in the Jewish trans-normalization agenda is the recently released film About Ray. In this film, a female teenager Ramona (Elle Fanning) realizes and pursues her “true identity” as a male (called “Ray”). His mother Maggie (Naomi Watts), lesbian grandmother Dolly (Susan Sarandon) and absent father Craig (Tate Donovan) must learn to accept “him” for who “he” is. This film is completely Jewish in origin, production, and distribution — being distributed by The Weinstein Company and written and directed by the Jewish lesbian activist Gaby Dellal (who is the granddaughter of billionaire British Jewish property investor Jack Dellal). Four of the film’s five producers are Jewish.

 

 

dellal

Gaby Dellal: Jewish director of the transgender- themed film About Ray

Ultimately, the stunningly disproportionate Jewish involvement in the “transgender rights” movement reveals it as yet another form of Jewish ethnic warfare. Jill Soloway admitted as much when she recently observed that Jews are “recreating culture to defend ourselves post-Holocaust.” Jewish writer and intellectual Charles Silberman made essentially the same point back in the 1980s when he noted that: “American Jews are committed to cultural tolerance because of their belief — one firmly rooted in history — that Jews are safe only in a society acceptant of a wide range of attitudes and behaviors, as well as a diversity of religious and ethnic groups.” For these activist Jews, pushing the limits of behavior and beliefs on sexuality is motivated by the same attitudes that push the organized Jewish community to promote massive non-White immigration: It’s seen as good for the Jews.

This self-interested Jewish cultural assault would hardly matter were it not for the Jewish stranglehold over the Western media and entertainment industries. This stranglehold provides the likes of Jill Soloway, Jenji Kohan, Lana Dunham, Gaby Dellal and many others with an immensely powerful public platform to promote an agenda that is absolutely contrary to the interests of the traditional American majority people. The editor of The American Interest, Adam Garfinkle, put the state of affairs succinctly in observing that: “It does not take a rocket scientist to connect the dots: liberals are responsible for the dangerous debauching of our society, not least through vapid entertainment-culture garbage, and a disproportionate number of liberals who are doing precisely that are Jews.”

It is difficult to see how the salvation of our race will be achieved without our breaking this Jewish media stranglehold.

Share and Enjoy:
  • Print
  • Digg
  • StumbleUpon
  • del.icio.us
  • Facebook
  • Yahoo! Buzz
  • Twitter
  • Google Bookmarks

Comments are closed.