The Occidental Observer
October 10, 2015
In a recent article I explored the Jewish role in the hyper-sexualization of Western culture. I made the point that this phenomenon — the most obvious result of the Jewish takeover and virtual monopolization of the Western media and entertainment industries — represents the deliberate ethno-political application of psychoanalytic theory to a Western culture regarded as inherently authoritarian, fascistic and anti-Semitic due to its “repressive” sexual morality. This hyper-sexualization agenda, which has had disastrous social consequences for White people, operates in tandem with the Jewish-led “civil rights” movements which demand deference for non-Whites and sexual non-conformists — these serving as proxies for Jews as the prototypical outsiders in Western societies. With the legality of “gay marriage” seemingly secured (largely as a result of Jewish efforts) the focus of the “identity politics” agenda has now shifted to deconstructing traditional Western views about what it means to be a man or a woman.
As with the other “civil rights” movements dominated by Jews, the motivations underlying the “transgender” rights movement are ultimately grounded in the subversive doctrines of the Frankfurt School — and in particular The Authoritarian Personality which found that those who ranked highly on the ethnocentrism scale (i.e., those more likely to harbor “anti-Semitic” views) tended to live in worlds with rigid gender boundaries, where attractiveness was grounded in traditional conceptions of masculinity and femininity, and where sexual mores were clearly delineated. Kevin MacDonald notes that “Jews, as a highly cohesive group, have an interest in advocating a completely atomistic, individualistic society in which ingroup-outgroup distinctions are not salient to gentiles.”[i] It is therefore in Jewish interests to subvert all non-Jewish social categories — whether these be based on race, religion or gender boundaries and roles. Hence their recent championing of the concept of “fluidity” which is the very antithesis of anything separate, homogeneous, or with clear boundaries. All cohesive (and evolutionarily adaptive) social categories that have characterized Western civilization have been subverted by Jewish activists. White masculinity has been a particular target. In his book Theorizing Masculinities the Jewish intellectual Michael Kaufman notes that:
If the hypotheses so patiently investigated by the Frankfurt School were right, this was a masculinity particularly involved in the maintenance of patriarchal ideology — marked by hatred for homosexuals and insistence on the subordination of women. But it was not the only show in town. The Authoritarian Personality analysed this character type in contrast to a “democratic character” that could resist the appeals of fascism. Inadvertently, therefore, the research documented different types of masculinity, distinguished along lines other than the normal-versus-pathological categories of clinical psychoanalysis.[ii]
The position of the authors of The Authoritarian Personality associating traditional masculinity and rigid gender boundaries with “authoritarian personality traits” has since been taken up and elaborated by others. In her 2000 book Scapegoat: The Jews, Israel and Women’s Liberation, the Jewish feminist theorist Andrea Dworkin posited a direct causal link between “patriarchal Western social structure” and “anti-Semitism” — arguing that Jews and women play similar roles as scapegoats in a worldwide, timeless drama of colonization, oppression and brutality. Likewise, in their 2010 paper entitled “Gender, Sexuality, and the Authoritarian Personality” published in the Journal of Personality, the psychologists Peterson and Zurbriggen claim to “present new data and review old data from our laboratories that show the myriad ways in which authoritarianism is implicated in the important domain of gender roles.” The authors claim to “show that women and men high in authoritarianism live in rigidly gendered worlds where male and female roles are narrowly defined, attractiveness is based on traditional conceptions of masculinity and femininity, and conventional sexual mores are prescribed.”
It logically follows, if one takes these studies seriously, that those seeking to curb the incidence of “authoritarianism” in Western societies — including Jews seeking to suppress “anti-Semitism” — should attempt to break down traditional gender boundaries and sexual mores by subverting traditional conceptions of Western masculinity and femininity. This is exactly what we see from Jewish activists — from organizations like the ADL, to the legions of Jewish academics who are influential in the social science faculties of Western universities, to the Jewish constructors of culture that dominate Western media and entertainment industries. MacDonald notes that fundamentally the political agenda of The Authoritarian Personality, and those who espouse its doctrines, is “to undercut gentile family structure, but the ultimate aim is to subvert the entire social categorization scheme underlying society.”[iii] In essence, this agenda is all about tearing down and destroying the evolutionarily adaptive pillars of European civilization to make the world safe for Jews.
Jill Soloway: from Six Feet Under to Transparent
A conspicuous example of a Jewish activist and creator of popular culture who aggressively promotes the hyper-sexualization of culture, spurious notions of “gender fluidity,” and who fetishizes the “other” (i.e. everyone except White heterosexual males) is Jill Soloway who is the creator of the transgender-themed show Transparent. In a recent roundtable discussion she acknowledged that Jews in Hollywood are “recreating culture to defend ourselves post-Holocaust.” Soloway’s own work can certainly be viewed in this light. The Jewniverse website is aptly titles its review of Transparent “The New Trans TV Show That’s Good for the Jews.”
Soloway grew up in a secular Jewish home on the north side of Chicago in a home with parents “who prayed to the gods of Woody Allen and Sigmund Freud.” While they eschewed the rituals of traditional Judaism, something that was constantly stressed in the Soloway household was “the knowledge that horrible shit happens for no good reason, and it happens even worse to the Jews.” This Jewish victimology left an indelible mark on the young Soloway who noted in her memoir that: “My parents are the post-Holocaust generation. … My mom came from parents who ran from pogroms.”
Soloway’s mother, Elaine, is the author of a memoir of her childhood in Chicago’s Jewish ghetto in the 1940s, The Division Street Princess, and worked in leftwing Chicago politics as a communications director. Soloway’s father is a retired psychiatrist who, bizarrely, at the age of 73, came out as “transgender.” She now refers to her father as her “parent” and her “mapa” and with the plural pronoun “they.” This event was the genesis of her show Transparent.
As a child another “really huge influence” on Soloway was the Jewish children’s author Judy Blume. She claims “reading all her books as a young, kind of neurotic Jewish girl and seeing her kind of neurotic Jewish girls as protagonists allowed me to see myself as a protagonist… I love a kind of shambling outsider protagonist who always feels like they’re ‘other.’” Jill and her sister Faith attended an “all black” public school through to sixth grade before moving to a magnet high school. In an interview she claims this experience further “stoked her sense of always being an outsider.”
Graduating from the University of Wisconsin–Madison as a Communications Arts major, Soloway traces the roots of her radical feminism to her time at the university in the 1980s when she “took a bunch of women’s studies classes, and sort of got politicized.” It was at this time that she first felt the desire to take “feminism and Judaism — and try to translate them into the popular culture in a way that feels resonant with a non-feminist audience.” For Soloway, Judaism and feminism have “always gone together,” and notes that the radical Jewish feminist Andrea Dworkin “wrote that if you want to understand anti-Semitism, you have to understand misogyny — that the hatred of the Jew is really the hatred of the feminine. It’s a fear of the questions.” In Soloway’s mental universe, “anti-Semitism” has nothing to do with the behavior of Jews, but is a by-product in the pathological misogyny of White heterosexual men.
Before moving to Hollywood, Soloway and her lesbian activist sister Faith wrote plays, including The Real Brady Bunch, Not Without My Nipples and The Miss Vagina Pageant. Arriving in Hollywood in 1992, they quickly established a connection with the Jewish-controlled HBO where they pitched a pilot called Jewess Jones, about a female Jewish superhero, but it failed to get picked up. Faith subsequently moved to Boston where she has since written and performed in “schlock operas” such as “Miss Folk America,” “Jesus Has Two Mommies,” and “Faith Soloway’s Lesbian Cinema Schlock Treatment.”
Jill stayed in Hollywood and kept submitting pilots while working on a string of sitcoms and reality shows. Inevitably, Jewish ethnic networking was decisive in her ascent through the Hollywood system. In 2006 she penned a dirty story called “Courtney Cox’s Asshole” which was published in a literary journal edited by the Jewish poet, novelist, and NPR commentator Andrei Codrescu. This story caught the eye of the director of HBO’s Six Feet Under who hired her as a producer on the show. This, in turn, led to work as a producer on Showtime’s United States of Tara (five out of the seven producers of which were Jews) and How to Make It in America (created and produced by the Jewish writer and producer Ian Edelman). All three of these shows are “about “dysfunctional families — whose work is unusually frank about gender and sexuality.” The Jewish Journal notes that Soloway “has quite the reputation for writing about Jews and sex.”
While working on these shows, Soloway kept trying to get her own television series going. It was the experience of being passed over by HBO in favor of fellow Hollywood Jewess Lena Dunham’s series Girls by that prompted her to study Dunham’s work. Girls is an incredibly degenerate show which glamorizes homosexuality, having multiple sex partners and abortion. There is an arc in the second season in which the main character (played by Dunham) dates a conservative White man, only to break up with him because his views are “immoral.” It was seeing and admiring Dunham’s work that prompted Soloway to undertake a six-week filmmaking workshop with the Jewish director and producer Joan Scheckel (who is now a consulting producer on Transparent). Soloway has called Scheckel as a “director’s guru” who convinced her that she already had years of experience being at the center of a group of people and calling the shots. She notes that: “Being a mom, being a Jewish woman control freak, means we’re all just directing all the time anyway.”
After her crash course in directing and producing, in 2013 Soloway wrote and directed her first movie, Afternoon Delight, a film which focuses on a bored, therapist-frequenting, Jewish housewife, Rachel, who “drops a bomb into her marriage when she takes in a stripper named McKenna, after receiving a mind-blowing lap dance from the sex worker.” The film, shot in and around Soloway’s own home, won her the directing prize at the Sundance Film Festival.
One Jewish source notes that: “While it would be incorrect to describe Afternoon Delight — which Soloway calls a ‘coming-of-middle-age’ film — as autobiographical, it is assuredly an amalgam of the Chicago native’s passions: Judaism, feminism, sex, comedy and spirituality.” Soloway’s Jewish hyper-ethnocentrism, radical feminism, and obsession with sexual non-conformists fully characterize Afternoon Delight and, indeed, in her entire body of work. She has observed that “sex workers, feminism, queer art are all alive in the same space for me. In some ways, I feel like it’s my work to be a translator between the queer world and the straight world.”
Despite being heterosexual, Soloway claims to have always felt most comfortable among homosexuals since her college days at the University of Wisconsin, where she first started “hanging out with lesbians.” Soloway explains: “I’ve always been straight identified and always slept with men, but politically I feel like a lesbian — I see male privilege everywhere. … I identify as queer.” One of Soloway’s best friends is the Jewish lesbian activist Mel Shimkovitz — who identifies as “butch-queer” and purports to be a “designer, actor, writer, and DJ.” According to Soloway, the two of them “instantly fell in love, and I sort of wanted Mel to be my fashion-icon muse.”
Acknowledging how effective the civilization-destroying feminist propaganda spewed out by the media and entertainment industries has been in poisoning the minds of millions of American women, Soloway pointed out how common it is for her to meet women and to discover “they’re either gay, they’re bi, they’re queer, they’re feminist, they’re artists, and you don’t even have to stop to be like, ‘Are you down for the cause to topple the patriarchy? Because it’s already understood. It’s like, “what are we doing today?’”
Reflecting on her two decade-long obsession with sex workers and the LGBTQ subculture, Soloway observed that: “Coming out of college and women’s studies, Susie Bright, Annie Sprinkle, and Carol Queen were these feminist performance artists, filmmakers, writers, who felt to me, like the female equivalent of war journalists. … I loved what they were able to bring back from being in a room with a John or on-stage at a Peep Show. I have always found their memoirs and art compelling in a way that I didn’t understand.” In 2006 Soloway offered the public her own “sexual insights, political diatribes and tips for would-be screenwriters” in her autobiographical essay collection, Tiny Ladies in Shiny Pants: Based on a True Story.
All of Soloway’s ideological fixations (particularly her obsession with “otherness”) are manifest in her show Transparent which is the story of Mort (Jeffrey Tambor) the elderly father of a Jewish family coming out to his three grown children as a transvestite — his ex-wife Shelly (Judith Light) already knows. He now wants to go full-time in women’s clothing, be called “Maura,” and be referred to as “she.” Meanwhile, his son Joshua (Jay Duplass) is having an affair with the new woman rabbi. One daughter, Sarah (Amy Landecker), the mother of two children, leaves her husband for a lesbian lover from her earlier days. Another daughter, Ali (Gaby Hoffmann) is “pansexual, moody and masochistic,” and who especially enjoys “being bossed around by a transsexual man with a beard and a vagina.” Transparent is, in the words of The Village Voice, replete with “adultery, abortion, threesomes, lesbians, transgenders, interracial hook-ups.”
Transparent is Soloway’s answer to the question she asked herself: “What would I do if I granted myself the same kind of artistic entitlement that Lena Dunham grants herself?” According to Jewish writer Anna Goldsworthy, writing for The Monthly:
Transparent does bear some resemblance to Dunham’s Girls: Jewish people behaving badly; indie soundtrack; assorted humiliations of the flesh (the slap of the over-lubricated dildo falling onto the public bathroom floor, as Ali experiments with a trans boyfriend). It is attention-grabbing television, with generous lashings of nudity, but it differs from Girls in that it believes in good sex and allows its protagonists to enjoy it. And if this sometimes looks like sex in the movies, it is salvaged by an attention to everyday detail, such as the children’s car seats hastily abandoned alongside the SUV in which Tammy and Sarah have their first tryst.
The negative effect that this kind of hyper-sexualized programming has on young people has been noted by the psychologists Richard Jackson Harris and Fred W. Sandborn in their book A Cognitive Psychology of Mass Communication. They note that: “Teenagers who watch heavy diet of television with sexual content were twice as likely to engage in sexual intercourse over the following year as teens who were light viewers of sexual content, even after controlling for other possible factors.” Record high rates of sexually transmitted diseases among adolescents is just one of the negative consequences of the dysfunctional behaviour encouraged by this Jewish hyper-sexualization of Western culture.
Noting how Soloway’s salacious output parallels that of Dunham and Jenji Kohan, creator of Orange Is the New Black, one source notes that “All three shows explore the sexual ‘other’ and attempt to wrest depictions of female sexuality from the boys. These aren’t new pursuits. The L Word, Glee, and even Will & Grace were pioneers for humanizing LGBTQ roles on television, while Sex and the City paved the way for a broader look at women’s sex lives. But Transparent is the first to feature a fully fleshed-out trans character as the protagonist.” All of these shows were created and produced by Jews. As I have previously noted, Hollywood has been integral to changing Western attitudes towards homosexuality, as Vice President Joe Biden acknowledged when he noted in 2013 that
it wasn’t anything we legislatively did. It was “Will and Grace,” it was the social media. Literally. That’s what changed peoples’ attitudes. That’s why I was so certain that the vast majority of people would embrace and rapidly embrace [gay marriage]. Think behind of all that, I bet you 85 percent of those changes, whether it’s in Hollywood or social media are a consequence of Jewish leaders in the industry. The influence is immense, the influence is immense.
Soloway is proud to follow this path laid out by fellow Jews in “recreating culture to defend ourselves post-Holocaust,” observing that: “My work privileges the Other, with a capital ‘O,’ meaning all kinds of other — Jewish, trans, gay, unattractive, weird, freaky, outsider, different, fucked up.” She proposes that “it’s impossible for cis white men to understand how every, every, every other person has to synthesize the feeling of being ‘otherized,’ always.” Cis being short for cisgender, a bogus etymological construction which supposedly describes a normal person who identifies with the gender he or she was assigned at birth.
The term was first used by the (likely Jewish) “gender warrior and transactivist” Eli R. Green in a 2006 article in the Journal of Lesbian Studies, and was then popularized by the transgender writer Julia Serano in “her” 2007 book Whipping Girl: A Transsexual Woman on Sexism and the Scapegoating of Femininity. Soloway, a big fan of Serano, neglects to explain how Africans living in a homogeneously Black Africa, or Chinese living in a homogeneously Asian China (or billions of other non-Whites living in countries with few or no White men) are afflicted with “the feeling of being otherized always.” Nonetheless, she informs us that she now feels “less angry after having made Transparent, because the experience of watching Transparent privileges the other.”
Echoing this theme, journalist Inkoo Kang, writing for The Village Voice, notes that Transparent’s place at the vanguard of “mainstream pop culture’s explorations of gender and sexuality” — alongside HBO’s Girls and Netflix’s Orange Is the New Black, “isn’t secured simply through its trans focus, but its multivalent privileging of the other.” Another commentator claims that: “It’s very interesting that the most noted shows of two of the major streaming TV services, Netflix and Amazon Prime, are by women showcasing an astonishing diversity of female (and queer) characters.” While it may be interesting, this situation is hardly surprising given that all of these women are Jewish, and that a Jewish ethno-political agenda is the driving force behind their squalid output: this agenda, as always, revolving around the White displacement agenda, race-mixing, the hyper-sexualization of culture and overthrow of traditional Western sexual mores, and, in recent years, the feminization of White men and the breaking down of traditional gender boundaries.
In addition to its highly sexual nature, The Jewish Daily Forward declared Transparent “the Jewiest show ever,” a sentiment echoed by The New Yorker. The hyper-ethnocentric Soloway, referring to her show, told the Jewish journalist Daniel Fienberg:
I want it to be super Jewy! I want it to be really, really Jewy. When I gave you that list of people who don’t normally get consulted when pilots get ordered — Feminists, gay people, trans people — and Jews. There’s a lot of Jewish writers, but the old adage is “Write Jewish, Cast British.” You’re supposed to write the Jewish anxieties, but then take out any references to Tu Bishvat and make sure that the actors look WASP-y. So I think I’m gonna subvert that and write Jewish, cast Jewish, act Jewish, fall apart Jewish, make mistakes Jewish, cry Jewish. Even when I was working on [HBO’s] Six Feet Under [2001-05], I was thinking, “One day I’m going to have my own show, and it’s going to be about a family and it’s going to be really Jew-y and really sexy.”
Naturally Jews and Judaism are always presented sympathetically in the show. According to Debra Nussbaum Cohen, writing for the Jewish Daily Forward, Soloway’s Transparent “shows a family — not a religious Jewish family, but one that is in many respects typically American — connecting with Jewishness in fits and starts, treating Judaism in an intimate and lovingly familiar ways.” Soloway’s Jewcentric output has, not surprisingly, endeared her to the pillars of Hollywood’s Jewish establishment. The Jewish television writer and producer Norman Lear, creator of the subversive 1970s comedy All in the Family, labelled Soloway his hero, noting that: “I’m utterly taken by Transparent, [lead actor Jeffery Tambor] walks a line between hilarity and heartbreak.” The Jewish director, screenwriter and producer Darren Aronofsky has been similarly effusive, tweeting that, “I gotta hang @jillsoloway #TransparentTV next to the best of Philip Roth.”
Reading these comments reminds one of the accuracy of the Jewish director David Mamet’s observation that: “Hollywood movies are profoundly, genetically Judaic; the product, via the minds of their creators, of certain distinctive racial traits that arose in the ghettos of Eastern Europe and transported themselves to Beverly Hills.” Mamet believes two of these traits, indifference to (and, indeed, contempt for) wider non-Jewish social norms and high intelligence, combined with a form of autism known as Asperger’s Syndrome, which “has its highest prevalence among Ashkenazi Jews and their descendants … sounds to me like a job description for a movie director.”
Explaining the prominence of Jews in her 2006 memoir Tiny Ladies in Shiny Pants, Soloway again echoed the late radical Jewish feminist Andrea Dworkin, maintaining that, “the Jew is not just the Jew — it’s the scapegoat, it’s the other. My whole book is about feeling like the other, the other at summer camp, the other in the sorority, the other in every part of life.” Enthusiastically adhering to the longstanding Jewish ethno-political stance favoring the promotion sexual liberation among gentiles as a way to defuse “anti-Semitism,” Soloway says she opposes “the old-school feminists who [like Dworkin] are anti-porn” and is much more in sympathy with “the modern feminists who are pro-sex worker, pro-porn, pro-choice.”
As expected, Soloway’s Jewish identification and sympathies override her other widely-touted ideological commitments. Despite trumpeting and propagandizing the alleged virtues of “diversity,” she herself “is happily married to a Jewish man” and made sure she sent her son Isaac to a private Jewish day school. Asked in an interview why she did this, despite having written favourably of her parents’ decision to send her to a public school where she was one of the few non-African-American students, Soloway disingenuously claimed that: “It wasn’t really the plan. Part of it was that my son is allergic to peanuts and the school is a peanut free environment. Also, I wasn’t in a good public school district, otherwise I would have used the public school.”
It was while she was in the process of looking for a nursery school for her son that Soloway claims that she “rediscovered her Jewishness.” After walking into the Temple Israel in Hollywood she “knew immediately that this was where I want to be. After that I sort of rediscovered the tribe. I love being a community organizer and became very active with the East Side Jews and Reboot.” A decade ago Soloway went on retreat with Reboot, an organization that, in its own parlance, brings together “Jewishly unconnected cultural creatives.” It had a major impact on her and led to her starting, with other Rebooters, a group called East Side Jews, which gathers in the Silver Lake area of Los Angeles to conduct Jewish rituals like Shabbat dinners and tashlich. Most importantly, it provides an opportunity for some good old fashioned Jewish ethnic networking. Soloway has noted that many of the writers on Transparent are people she met through Reboot and East Side Jews.
End of Part 1
[i] Kevin MacDonald, The Culture of Critique: An Evolutionary Analysis of Jewish Involvement in Twentieth‑Century Intellectual and Political Movements, (Westport, CT: Praeger, Revised Paperback edition, 2001), 170.
[ii] Harry Brod & Michael Kaufman, Theorizing Masculinities (Thousand Oaks, CA; Sage, 1994), 29.
[iii] MacDonald, Culture of Critique, 174; 177.