Progressivism's Sacrificial Lambs
Between butchering babies in the womb, brainwashing kids in the classroom, and letting the elite use them as playthings, liberals have revived an ancient barbarism to placate a very modern god.
Of all the monsters to have slithered out of society’s closet over the last few years – from the Molotov-hurling peaceful protestor to the surgically-mutilated victims of transgender mania, from the aspiring medical tyrant to their unthinking armies of mask zombies – surely none can be more grotesque than those who breathe their venom into children.
There are many iterations of this evil. Most recently, we’ve seen it manifest in the form of abortion enthusiasts and blue-haired, dead-eyed elementary school teachers, as the names in Jeffery Epstein’s flight log, and yet more odious even than these, are the parents who meekly acquiesce.
As many readers are likely already aware, the kid in the video below is named Desmond Napoles, better known by his stage name, Desmond is Amazing. It is his mother’s contention, as it always is with these unhinged, unconstrained narcissists, that her son’s penchant for “gender play” revealed itself at an impossibly young age – just two years old, in fact, when Desmond would join her on the couch to watch RuPaul’s Drag Race. This was grounds enough, she claims, to take the boy to his first “Pride” parade, the earliest steps on a path which would see Desmond (it genuinely pains me to type this) hanging out with murderers, being lusted after by pedophiles, and dancing for dollar bills in NYC gay bars.
Although filmed three years ago, when the boy was just eleven, the clip recently resurfaced in the wake of Disney’s Groomer Scandal, ABC a subsidiary of the company.
And let me tell you, it is nothing short of harrowing. For those unwilling to provoke the howling protestations of their soul, it shows Desmond (dressed in silvery heels, pink wig, and above-the-knee shift dress) sashaying through an audience of clapping, middle-aged degenerates, shrieks of pedophilic delight erupting as he collapses to the floor and strikes – I am loathe to even use the term – a provocative pose. Once on stage, the hosts take turns informing Desmond he is a hero. A little later, he is joined by three men dressed as the hideous caricatures of streetwalkers, each praising the boy’s parents for reasons no healthy mind could fathom.
The internet has been reassuringly enraged. While the media-entertainment complex might bury Desmond beneath words like “trailblazing”, “courageous”, and perhaps most nauseating of all, “fabulous”, it seems as though the general public still retains enough humanity to regard child drag queens as a symptom of a deep moral rot within our society, those who encourage such depravity deserving either to be on a register or in a woodchipper. And honestly, I don’t really have much to add. After all, whatever has not yet been said about child sexual exploitation probably wouldn’t prove all that illuminating, and so, for my own curiosity as much as anything, I will instead try to explain why the tragedy of Desmond Napoles reminds me so strikingly of Ursula Le Guin’s short story, The Ones Who Walked Away From Omelas.
I first read the piece over a decade ago, while still floundering through a university degree I had long ago decided was pointless, counterproductive, and boring. Unsurprisingly, I didn’t much care for Le Guin’s work. Part of this, no doubt, was the compulsory nature of the assignment (required reading for my despised Women’s Literature module) – the plot simple insofar as it could be said to have a plot at all. In many ways, the story reads more like anthropological study, albeit one conducted by a researcher not wholly convinced of their findings. It describes the Festival of Summer celebrations in the fictional town of Omelas, “bright-towered by the sea”, the image of zig-zagging swallows, ornately festooned horses, “a cheerful faint sweetness of the air [and] the great joyous clanging of the bells” conjuring up the image of some idyllic medieval fete.