SHOCKING New Documentary On ‘Transkids’ Accidentally Tells Disturbing Truth
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SHOCKING New Documentary On ‘Transkids’ Accidentally Tells Disturbing Truth
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On Monday, a horrifying clip from a recently released HBO documentary went viral.
In the scene, congregants at a Unitarian Universalist church are invited by the female pastor to, quote, proclaim their identity publicly as lesbian, gay, bisexual, transgender, queer, queer or questioning, intersex, pansexual, asexual, or any category I've left out, unquote.
A mother then pulls her young son, four years old it turns out, onto the stage to announce that he's really a girl.
But the poor child has no interest in being paraded around like his mother's show pony, so he hands the microphone back, saying that he doesn't want to do it.
The mother takes it upon herself to come out on her son's behalf, informing the audience that her son, Phoenix, would, quote, like you to know that she's a girl and she prefers she and her pronouns.
Completing this apparently familiar ritual, the pastor hands the child a pink flower.
As the congregation repeats its creepy affirmation in unison, quote, may you be well, safe, and whole.
We honor you exactly as you are.
Of course, that's the exact opposite of what they're really doing.
This isn't even the worst scene in HBO's transhood documentary, which is now available on their streaming platform.
The film follows four transgender children over the course of five years.
It's clearly meant to promote and normalize the deranged sort of child abuse just described, but any rational person who subjects themselves to the film, which I did, but I wouldn't recommend it, will come away with a number of important insights that the filmmakers did not intend.
Phoenix's case is, I think, especially instructive.
Before the forced coming-out party, we see the boy in a dress, in a different scene, on a bed filled with lots of pink and rainbow-colored things, and he's being read a book called Jacob's New Dress by his mother.
Here's that scene, if you can stomach it.
Family slid into a shiny yellow dress while Jacob wiggled into a sparkly pink dress.
What are you wearing?
asked Mom.
It's like a dress!
I made it!
Dad frowned.
You can't go to school like that.
Put on some shorts and a shirt under that dress thing, Mom said.
And hurry!
We're late for school!
You're never late for school, are you?
Let's get the sewing machine, she said finally.
Jacob felt the air refill his body.
He grinned.
Mom smiled back.
There are all sorts of ways to be a boy, she said.
Right?
Wait!
I'm a boy and also... And I'm also wearing clothes!
Girl clothes!
You are wearing... They are your clothes, so they are boy clothes.
Dad looked up on his boat.
Okay, then they're girl clothes.
They can be whatever you want to be.
I am a girl boy.
Next, in an interview, the mother, Molly, tells us that Phoenix is, quote, gender expansive, non-binary, gender non-conforming, gender awesome, under the trans umbrella, girl boy, and rainbow boy.
All of those things.
Before finally concluding that, quote, we don't really have a good term.
Well, I have a really good term.
It's called boy.
Now, for his part, the father, Zach, mostly sits quietly, a common theme in the film, which we'll return to in a moment.
But he agrees that his son's gender is somehow, quote, up in the air right now.
Eventually, Phoenix, who never at any point shows any strong desire to be a girl, and appears to be mostly confused and bored with the whole thing, is nonetheless socially transitioned into one.
But the years pass, and Phoenix continues in the nasty habit of being a boy, despite his parents insisting otherwise.
Eventually, they get divorced—another common theme—and decide that, never mind, actually their son is a boy after all, it turns out.
But the good news is that Molly feels better at the end because she's worked through her issues and is starting a new leaf, where we are not exactly told how her son really feels about having his gender switch back and forth while his home life is ripped in two and his parents give up on their marriage.
His feelings and well-being appear to be more of an afterthought amid his mother's psycho drama.
Shades of the Phoenix story can be easily detected in the other three trans kid profiles.
There's Jay, age 12, when filming begins.
She's a girl making the, quote, transition into a boy.
Her father doesn't appear to be in the picture at all.
I don't think we see him at all.
But her mother, Bryce, is a lesbian who eventually meets and marries a defensive lineman from the local women's football league.
We're first introduced to Jay when she's being given her first hormone blocker injection before the onset of puberty.
Later, she goes into surgery to have a blocker implanted in her body.
Bryce, the mother, seems unsure, even at times distraught by all this.
But she goes along with it, and funds it, and facilitates it every step of the way.
Similar dynamic with Lena, 15 years old at the beginning of the film, also just beginning the medical transition, in this case from boy to girl.
We meet Lena and his divorced father, Mike, as the two are out bikini shopping for the young man.
We learned that Mike had his hesitations about the transgender thing when Lena first announced his gender confusion around the time of the parents' divorce nine years prior.
There's that theme again.
But has since learned to accept it.
And now his sons, or his, quote-unquote, daughters, ambition is to become a victorious secret model.
And Mike, along with his ex-wife, accompany Lena to his first modeling tryout.
By the end of the film, Lena has decided to take it all the way, going under the surgeon's knife—the surgeon is also transgender—to make his physical transition permanent and basically irreversible.
The most disturbing story of all is that of seven-year-old Avery.
He's a boy who, according to his parents, is really deep down a girl.
Avery's mother, Debbie, traipses the child all around the country doing media interviews, attending marches, rallies, etc.
The cameras catch the moments when Debbie informs Avery that he'll be, quote, writing a trans-affirming children's book and then going on a book tour against his will.
He doesn't want to do it.
And also when Debbie tells Avery that a National Geographic photographer will be arriving shortly to take pictures for the magazine's upcoming cover story on gender.
Avery is visibly and audibly unhappy with all of this, all throughout the entire film.
He objects to all of his mother's schemes, and at one point late in the film, upon hearing that he'll be forced to attend yet another LGBT rally in DC, says that his life is ruined, and voices a level of exhaustion and weariness that no child should ever experience.
Let me play that scene for you now.
We're going to Washington, D.C.
Again?
Again.
And we're going to be moving to the White House presidential area to throw a book at Donald Trump's face.
I don't think that we want to say that, no.
This one is Time to Thrive, and it's for people who work with LGBTQ youth.
We actually go and meet with our senators, some representatives.
After we do that, we go and sit and sell some of Avery's books for a little while.
Avery.
Manners.
I just don't want to even have a book.
I've done too much in this world.
It's ruined my life enough.
And now everyone in this world is going to know.
If I sell my book, it's going to go on the news along with me for like the 50th time at this point.
And it's just going to make my life worse.
A couple years ago, you wanted people to know.
Yeah, I did, but now that was a really stupid, silly mistake, and now I don't.
Yeah, that's something.
I'll go pack now.
Avery doesn't seem too invested in this female persona.
Minus the long, neon-colored hair and the overcompensating rainbow outfits that his mother puts him in, he comes across like a relatively normal young boy.
Debbie, noticing this with some level of alarm, decides that Avery is just a, quote, tomboy trans girl.
Yes.
That would be a boy who is a girl who acts like a boy.
As for Avery's father and his view of everything, it's never made entirely clear.
Like the other fathers in the film, he's basically a useless lump of nothingness floating along with the tide while his wife psychologically and physically destroys his son in order to satisfy her own unquenchable narcissism.
These men are literally watching their sons be turned into girls.
And that's one of the ingredients that is always present whenever a young boy is forced to sacrifice his masculinity in this way.
They always have fathers who have already willingly sacrificed their own.
That is a necessary ingredient.
And that is one of the important lessons the film doesn't want to teach us, but does anyway.
There is no mystery to the transness of Avery, Phoenix, Lena, or Jay, or any trans child.
In Avery's case, his mother has, it would seem, very clearly imposed a trans identity onto him.
Munchausen syndrome by proxy is a known mental illness where a parent, usually a mother, pretends that their child is sick or sometimes even causes the child to be sick in order to gain sympathy and attention for themselves from the public.
If the psychiatric industry was at all honest and trustworthy, Debbie would be diagnosed with this disorder and her children removed from her care for their own safety.
As it happens, though, and as the film clearly portrays, doctors and therapists are much more likely to feed into this kind of mania than to diagnose and treat it.
That's the other piece of the puzzle that removes any mystery from the trans epidemic among children.
The entire medical field, with very rare exception, has bought into this radical left-wing gender theory.
A gender-confused child With a parent like Debbie stands no chance.
He will find no help, no protection from his pediatricians or his therapist or his school.
They're just going to send him off to be drugged, mutilated, and further abused.
But not all trans kids have parents like Debbie.
The other kids in transhood seem to have mothers and fathers who are perhaps less exploitative than they are confused, incompetent, and self-absorbed.
All throughout the documentary, We constantly see the parents turning to their kids and asking them for direction.
Relying on their children to take the lead.
Asking them, what do you want to do?
How are you feeling?
How do you identify?
You tell us.
Putting it all on them, on their shoulders.
The burden of leadership.
Placing it on their five-year-old son's shoulders.
Phoenix's dad gives the closest thing we hear to a fatherly lecture in the whole film, telling his son-turned-daughter-turned-son that it's okay that he was a girl before, and it's okay that he's a boy now, and it's okay if he's a girl later.
And really, it's all up to him.
Well, gee, thanks for the advice, Pop.
Very clarifying.
Like any other child, Phoenix desperately needs direction and leadership and clarity.
What he gets instead are shrugging shoulders and his pathetic, henpecked father's refusal to offer any guidance of any kind whatsoever.
So it's up to Phoenix to figure out who he is, what reality is, what anything is.
His parents will provide nothing to the child except food, a bed, a roof, and a bunch of pretty dresses should he decide he wants to wear them.
Other than that, the boy's on his own.
And that's how you end up with transgender children.
Of course, the documentary wants us to learn a different lesson.
In the epilogue, before the credits roll, the last thing we're told is that Lena, right after waking up from his, as they call it in Orwellian speak, gender affirmation surgery, supposedly turned to his mother and whispered, I'm free.
Now, I doubt whether he said that at all, but if he did, it was yet another expression of the tragic confusion that has plagued this kid since early childhood.
He is not free, now that he has rejected himself and his own biological nature in a way that can never really be undone.
But that is another lesson he'll have to learn on his own, with no help from his parents.
