The New Paradigm

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KM: S&M, transgenderism and Jewish holidays: Transparent is “the most Jewish show on television.”

Amy Klein writes for Hadassah Magazine:

There’s a scene in the upcoming third season of Transparent—Jill Soloway’s hit show on Amazon about a father’s transgender transition and its effect on his family—where daughter Sarah Pfefferman is bound and getting flogged by a dominatrix. But Sarah is bored, distracted by her own neurotic train of thought.

“You know there’s this whole Jewish concept that if you do charity work you’re not supposed to tell anyone about it cuz if you tell anyone it voids the work,” Sarah says, the camera on her face in the vise, a whipping sound in the background. “It’s more about ego than charity…. If that’s true I haven’t done a single charitable action in my entire life.”

It’s typical Soloway: so, so irreverent and so, so Jewish at the same time.

But that’s Transparent, for you—”The most Jewish show on television,” says Soloway, the show’s writer and director. On September 18, Soloway, who based the series on her own experience—her father had transitioned to a woman, was awarded the 2016 Emmy Award for Outstanding Directing for a Comedy Series for Transparent. Actor Jeffrey Tambor, who plays father Mort Pfefferman, now Maura, also won an Emmy, for Best Actor in a Comedy Series. And the show—its third season premieres on September 23—won a 2016 Golden Globe award for best television series.

“I’ve always wanted to be part of a movement,” said Soloway in her Emmy-acceptance speech. “This TV show allows me to take my dreams about unlikable Jewish people, queer folk, trans folk and make them heroes. Thank you to the trans community for your lived lives.”

This season Sarah—played by Amy Landecker—gets kicked off the synagogue board and starts an organization called Hineni with brother Joshie’s ex-fiancée, Rabbi Raquel Fein. “Hilarity ensues: They gather in their kids’ school gymnasium and try to reinvent havdalah,” Soloway, 50, says in a recent interview with Hadassah Magazine. “Just like ‘East Side Jews,’” she adds, referring to the community of L.A. Jews—“An irreverent, upstart, nondenominational collective” Soloway founded 10 years ago.

The new season also has Rabbi Raquel jogging in the woods, with her voiceover discussing themes of redemption. “Each season has one big Jewish holiday in the center,” Soloway explains. The first was Shabbat, the second was the High Holidays and, this time, it revolves around Passover—“Seder stuff, liberation…the whole season’s a Hagaddah, if you will.” Soloway can’t help but joke: “Season 4 will be about Succot, by Season 8 we’ll be big into Lag B’omer, I guess, and season 11, Shemini Atzeret.”

Where does she get all her Jewish knowledge?

Soloway has three rabbinical advisors. Rabbi Susan Goldberg of Wilshire Boulevard Temple serves as a consultant for the show. “She comes in and sometimes we do Torah study,” Soloway says.

She also speaks daily to New York-based Rabbi Amichai Lau-Lavie, “a God-optional patriarchy-toppling Jewish modern mind. There’s a mandate among religious and spiritual thinkers to be thinking about the binary, the gendered, the feminist, the goddess, and Amichai reminds me of that every day.”

Her own personal rabbi, Mordecai Finley, of Ohr HaTorah synagogue in Los Angeles, “uses Torah as a way to understand brokenness,” she says. “He defines God as an energy hovering between love, justice, truth and beauty—somewhere between those four qualities is our search for spirituality.” That exact quote is also uttered by the new charismatic cantor working with Rabbi Raquel.

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Decoding an Anti-Semitic Meme Donald Trump Supporters Took From Anime

Jay Michaelson writes:

It turns out, the image is of Asuka, a character in the controversial, critically heralded anime series Neon Genesis Evangelion, created by Hideaki Anno in 1995. Evangelion created a mythology that makes Lost look like Candy-Land, blending together gnostic, Kabbalistic, Christian, and conspiracy theory themes and incorporating many of Anno’s own struggles with mental illness.

One of those themes concerns a shadowy organization called SEELE, which is essentially a mythologized blend of the world Zionist conspiracy (a la Protocols of the Elders of Zion), Illuminati, and United Nations. According to the Evangelion wiki, SEELE is “a secret and mysterious organization with influence over the world’s governments and organizations.” Its name comes from the German word for soul.

The United Nations is a participant in this secret organization, which has among its goal the uniting of all humanity and the erasure of national boundaries. Their ultimate motives are sinister, however, culminating in SEELE’s own control of the world (to greatly oversimplify). SEELE also has some specifically Jewish elements, in particular its knowledge of the Dead Sea Scrolls, which in Evangelion are prophetic, gnostic texts.

Asuka (full name: Asuka Langley Soryu) is a fighter pilot who becomes the great enemy of SEELE. A fourteen year old girl, she is the love interest of Evangelion’s tormented hero, Shinji. But she is also a warrior in her own right, destroying SEELE’s weapons, giant humanoid robots called Evangelions. (Fittingly for the dark series, these efforts are ultimately unsuccessful and catastrophe rains upon Earth.)

In other words, and again oversimplifying somewhat, Asuka is the warrior against the secret Illuminati/Jewish conspiracy to take over the world. And in the meme posted on my Twitter thread, she is Trump, wearing his signature hat.

Having decoded the meaning of the image, I then set about trying to document how and where it entered the employ of the white supremacist fringe.

I didn’t find much — but I did find something. On a reddit-like thread from January, 2016, I found a different image of Asuka-as-Trump as well as one post saying “If elected, Trump will bomb the shit out of SELEE [sic] and take their oil.” While this would seem to align SEELE with Arab states rather than Jews, if one takes the conspiratorial worldview that, in fact, the great conspiracy (Jewish, UN, Masonic, whatever) controls everything, then of course they also orchestrate the world’s wars over scarce resources. SEELE is as much behind Saudi Arabia and Iran as it is behind Israel.

As for where the exact meme originated, or whether white supremacists know any of this history, I don’t know. I’m certainly not going to engage with any of them in order to ask.

It’s also unclear how much all of this is really in Evangelion itself. Certainly, Anno incorporated conspiratorial themes into the series, and SEELE in particular. It’s also well-known that Japanese society often displays a curious blend of philo- and anti-Semitism, often admiring Jews for our disproportionate impact on society, media, and politics. This is true both in the mainstream of Japanese society (the Protocols of the Elders of Zion has often been a bestseller) and on the fringes (radical, conspiratorial antisemitism was part of the ideology of the murderous Aum Shinrikyo cult.

Japanese anti-Semitism experienced a surge in the 1980s and 1990s, with several books alleging that the United States was controlled by Jews and was plotting to destroy Japan. Aum Shinrikyo in particular developed fantastic myths in which the world would be destroyed and replaced with another one — myths quite similar to the plot of Evangelion, which appeared around the same time.

At the same time, Evangelion was deliberately constructed by Anno as a complex multi-narrative in which different viewers could see what they wanted to see. It is filled with dark sexual imagery and paranoid imaginings of all kinds. SEELE is part of that, but certainly not the sum of it. There is no trace of anti-Semitism in Anno’s political beliefs or other work. It seems more likely that the cultural familiarity of conspiracy theories provided a rich basis for Evangelion’s paranoid tapestry, without any particular animus or ideology.

Somehow, though, the obscure mythology of a 1990s Japanese animated series has found its way into the 2016 presidential election, with Donald Trump himself cast in the role of warrior against the international Jewish conspiracy.

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Peter Beinart: The Death of ‘He Said, She Said’ Journalism

From The Atlantic:

Last Saturday, The New York Times published an extraordinary story. What made the story extraordinary wasn’t the event the Times covered. What made it extraordinary was the way the Times covered it.

On its front page, top right—the most precious space in American print journalism—the Times wrote about Friday’s press conference in which Donald Trump declared that a) he now believed Barack Obama was a US citizen, b) he deserved credit for having established that fact despite rumors to the contrary and c) Hillary Clinton was to blame for the rumors. Traditionally, when a political candidate assembles facts so as to aggrandize himself and belittle his opponent, “objective” journalists like those at the Times respond with a “he said, she said” story…

But the Times, once a champion practitioner of the “he said, she said” campaign story, discarded it with astonishing bluntness. The Times responded to Trump’s press conference by running a “News Analysis,” a genre that gives reporters more freedom to explain a story’s significance. But “News Analysis” pieces generally supplement traditional news stories. On Saturday, by contrast, the Times ran its “News Analysis” atop Page One while relegating its news story on Trump’s press conference to page A10. Moreover, “News Analysis” stories generally offer context. They don’t offer thundering condemnation.

Yet thundering condemnation is exactly what the Times story provided. Its headline read, “Trump Gives Up a Lie But Refuses to Repent.” Not “falsehood,” which leaves open the possibility that Trump was merely mistaken, but “lie,” which suggests, accurately, that Trump had every reason to know that what he was saying about Obama’s citizenship was false.

The article’s text was even more striking. It read like an opinion column. It began by reciting the history of Trump’s campaign to discredit Obama’s citizenship. “It was not true in 2011,” began the first paragraph. “It was not true in 2012,” began the second paragraph. “It was not true in 2014,” began the third paragraph. Then, in the fourth paragraph: “It was not true, any of it.” The article called Trump’s claim that he had put to rest rumors about Obama’s citizenship “a bizarre new deception” and his allegation that Clinton had fomented them “another falsehood.” Then, in summation, it declared that while Trump has “exhausted an army of fact checkers with his mischaracterizations, exaggerations and fabrications,” the birther lie was particularly “insidious” because it “sought to undo the embrace of an African American president by the 69 million voters who elected him.”

Comments at Steve Sailer:

* The amazing thing to me was that the CNN panel which followed that event were so furious that they had been “played” (their word) by Trump in such a fashion. And then to see in the NYT that Trump’s questioning Obama’s birth place, after Obama had sold his books on the basis of his having been born in Kenya and raised in Hawaii and Indonesia, was considered by the esteemed editors a “lie.” I never knew that one could “lie” by asking a question.

* I think Trump is deliberately and naturally very funny.

His comment to the effect that Hillary probably paid PR guys $2 million but he came up with “Crooked Hillary” all by himself for free tickled me no end.

I thought SPY Magazine’s characterization of him as the “short-fingered vulgarian was funny. But he’s much funnier than they were.

And as adaptable and resilient as he’s proven himself to be under the relentless, unfair and dishonest onslaught by the left, I bet he’s pretty healthy psychologically. Certainly healthy enough to be POTUS.

* The left always marched humorously in lockstep. The pranks those guys pulled seemed mean-spirited whereas Trump’s stunts are more good-natured. They wouldn’t have called their followers “deplorables”–that’s what they would have called the squares or straights. They laughed at the Establishment but they didn’t laugh at themselves. They were full of righteous indignation thinly overlaid with smug humor. It was obvious to me as a teenager that in the left’s eyes, all people were equal but some people were more equal than others.

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Les Deplorables

From the Chateau:

Trump entered the stage in Miami to a piece of shitlord political showmanship we haven’t seen the likes of in America since well, forever.

TheCunt called 1/3rd? 1/2? 3/4ths? of Trump supporters “deplorable”. So what does Trump do? Why, naturally, he co-opts the theme tune of a beloved shitlib Broadway musical, Les Miserables, and struts out under the Les Deplorables banner to a roaring crowd of American revolutionaries.

Folks, this is a TEXTBOOK application of the Game technique Agree&Amplify. Trump is a MASTER of so many Game principles that his meteoric rise should be studied by generations of young beta males for REAL WORLD EVIDENCE of the efficacy of Game. Trump will be studied by political historians for sure, but his life demonstrates so much more than mere political acumen. It’s no surprise he’s had a parade of some of the world’s most beautiful women as lovers.

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