New in PJ Media:
Suddenly Dylan Mulvaney, the fellow who would once have been known as a “flamboyant” homosexual and is in today’s society known as a “trans woman,” is everywhere. He’s advertising Bud Light. He’s also currently the pitchman for Ole Henrikson, Urban Decay, Ulta Beauty, Charlotte Tilbury, and Mac cosmetics; the Plaza Hotel; Tampax; Crest toothpaste; fashion designers and suppliers Kate Spade, Aritzia and Mugler; the dating app Ok Cupid; Svedka Vodka; Walmart; and the designer clothing rental firm Rent the Runway. That list will likely be even longer by the time you read this. And Mulvaney has just become Nike Women’s new spokesman for a product that, like Tampax, he does not need: sports bras.
This is extraordinary. The only thing of note that Dylan Mulvaney has ever been is a man who claims to be a woman. That made him a TikTok star with his “Day X of Being a Girl” series, which has become massively popular despite the fact that he hasn’t actually spent even one day as a girl. Yet even seen in light of his TikTok stardom, the blizzard of endorsements Mulvaney is getting is striking.
If it keeps up, before too long there won’t be any products left for which Dylan Mulvaney is not the pitchman. Even Babe Ruth and Willie Mays and Mark Spitz and pre-Caitlyn Bruce Jenner and any other American hero you can name would envy Mulvaney’s ubiquity, which is no doubt immensely lucrative for him.
It’s almost as if some sinister unseen figure decided to get behind Dylan Mulvaney in a big way and is strong-arming these corporations, whether with carrots or sticks, to make him their spokesman. Or maybe this is just an example of the groupthink that is increasingly common on the Left; one company features Mulvaney, and so every company has to do so.
We may never know what’s behind Mulvaneymania, but we can be sure that the corporations who are placing him front and center are trying to normalize the delusion of men thinking they’re women and vice versa. And so whether we’re entranced by Dylan prancing around and mocking the way real women act or are repulsed by it, we’re going to see him everywhere we turn. He’s here, he’s queer, and the corporate elites are demanding that we get used to it.
But why? If Dylan Mulvaney painted his face black and put on a minstrel show, he would be banned and excoriated everywhere. Why is his mockery of femininity not just tolerated, but celebrated? His ubiquity is just the point: after the manner of propaganda in all totalitarian states, we must be reminded at every moment that the old order has passed away and that the new order has come, in which tradition is meaningless, family is based on proclivities, not bloodlines, and one has no loyalty to anyone or anything except the omnipresent state.
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