J.K. Rowling Cast Out of Harry Potter Reunion

The Harry Potter movies are having a reunion, but a spell has been cast to keep J.K. Rowling and her alleged transphobia away from the festivities.

HBO Max will air the 20th anniversary reunion special but the creator of Harry Potter is persona non grata because she dared to speak the truth about the trans movement.

Twenty years-ago the magic of Harry Potter jumped from the page to the screen as Harry Potter and the Philosopher’s Stone, the first movie of the Harry Potter franchise, premiered in cineplexes across the globe.

Now, after 8 total films based on books that sold more than 500 million copies, which raked in more than 7 billion galleons at the box office, Warner Brothers is celebrating the Harry Potter film franchise with a tv reunion set to air on HBO Max on January 1st, 2022.

All the surviving stars of the films and their directors will be there, including Daniel Radcliff (Harry Potter), Emma Watson (Hermione), Rupert Grint (Ron Weasley) as well as Helena Bonham Carter (Bellatrix Lestrange), Robbie Coltrane (Hagrid), Ralph Fiennes (Voldemort), Gary Oldman (Sirius Black) and even Draco Malfoy himself, Tom Felton.

But, like a god cast out of an Eden of her own making, J.K. Rowling, creator of Harry Potter and literary hero to a whole generation of readers, will not be there to bask in the glow of her creative genius.

Neither Warner Brothers nor Rowling have explicitly stated so, but it appears that the author of the Harry Potter books who was intimately involved in the making of the movies, wasn’t invited to this Harry Potter party.  

Rowling’s egregious sin for which she has been banished from wizarding world and forced to wear a scarlet “T” for transphobe, is that she is a dutiful progressive on nearly every issue imaginable, but she just can’t bring herself to ignore objective biological reality and therefore refuses to fall under the insidious spell of the subjective lunacy of transgenderism.

The Rowling row heated up last year when, in response to an article that used the term “people who menstruate” instead of the word “women”, Ms. Rowling had the temerity to tweet, “People who menstruate, I’m sure there used to be a word for those people. Someone help me out. Wumben?  Wimpund? Woomud?”

She followed that up with a tweet saying, “I know and love trans people, but erasing the concept of sex removes the ability of many to meaningfully discuss their lives. It isn’t hate to speak the truth.”

I whole-heartedly agree, but Rowling’s naivete is charming, as anyone with a first year Hogwarts education knows that in our damned world of lies, daring to speak the truth is now considered an expression of violent hate, if not an outright crime.

The author of Harry Potter becoming a scapegoat and being crucified on the “T” cross by trans radicals who live in their own imaginary and fantastical world with a bizarre vocabulary all its own, is such a deliriously delicious turn of events, I can’t help but think that Ms. Rowling appreciates both the irony and literary profundity of it all.

Rowling is now the muggle, a person without magical powers, who lives in ignorance of the wondrous wizarding world of the transgender. In her muggledom she is incapable of understanding the transfiguration, the art of turning one thing into another, of the trans, and is so far lost she can’t see the trans for the glorious centaurs that they are.

The real magic in this story is the black arts performed by the woke who have cast a spell that has transformed a resilient woman who left an abusive marriage and rose from abject poverty to build a multi-billion dollar empire, despite being labelled a purveyor of the occult by fundamentalist Christians, by using nothing but the power of her imagination to charm and enchant children and families across the globe, into a pilloried pariah because she “refuses to ‘bow down’ to  a movement seeking ‘to erode women as a political and biological class.”

The insipid ‘pronouned’ woke, who proudly declare their pronouns of choice, and those who are trans or who reflexively support the trans movement, are at war with not just J.K. Rowling, but with the English language and biological and objective reality.

I’m not a Harry Potter fan, but as I’ve watched her be relentlessly chastised in this culture war battle by these malicious and nefarious nit-wits, I’ve become a fan of JK Rowling.  

Unlike the spineless fools at Warner Brothers who have lined their pockets on her creation, and the ungrateful simps like Radcliffe, Watson and Grint, who wouldn’t have careers if it weren’t for Rowling, and who now chastise and shun her, J.K. Rowling actually has a moral, ethical and intellectual compass. Unlike them she won’t play the rigged game of transgender quidditch and bend the knee to appease a loud but absurdly inane movement trying to force everyone to accept a distorted subjective experience as unquestioned objective reality.

Good for her.

Now instead of wasting her time at the HBO Max Harry Potter reunion hob-knobbing with artistic midgets who all lack her genius, resilience and courage, and who degrade themselves by worshipping at the golden calf of transgender wokeness, Rowling can sit in her castle made of money and bask in her own brilliance knowing that she alone in the extended Harry Potter world has the most elusive yet magical power of all…integrity.

 A version of this article was originally published at RT.

©2021

Dave Chappelle: The Closer - Review

****THIS REVIEW CONTAINS MATERIAL FROM DAVE CHAPPELLE’S NEW STAND-UP SPECIAL!! YOU’VE BEEN WARNED!!****

My Rating: 4 out of 5 stars

My Recommendation: SEE IT. Chappelle is the greatest comedian of his generation, but you better enjoy him while you can because weak-kneed Hollywood would rather virtue signal than entertain.

Firebrand comedian Dave Chappelle’s newest Netflix stand-up special The Closer has, not surprisingly, been met with predictable outrage by all the usual woke suspects.

Headlines like “Dave Chappelle faces backlash for troubling trans jokes” from Newsweek and Deadline declaring that “executive producer of ‘Dear White People’ are ‘done’ with Netflix” because the streaming service dared run Chappelle’s “homophobic” special, jump out when Googling the comedian’s name.

Chappelle has a woke bullseye on his back once again because in The Closer he’s simply does what every great comedian is supposed to do, humorously speak truths that ordinary people are too intellectually conditioned or socially cowardly to dare articulate.

And make no mistake, Chappelle is unquestionably the greatest stand-up comedian of his generation, and is in the discussion of the best stand-up comedians of all-time, and while The Closer isn’t nearly his best effort, it does nothing to damage his prestigious position atop the comedy world.

Chappelle opens The Closer by informing his audience that this is going to be his “last special for a minute”. Like Michael Corleone, Chappelle is settling all family business with the aptly titled The Closer, and there was a lot of business stirred up by his recent run of six extraordinary Netflix specials, from 2017’s The Age of Spin up through 2019’s Sticks and Stones.

Chappelle’s uproarious evisceration of the sensitivities and absurdities of white feminists, the LGBTQ community, and trans people in particular, in those numerous Netflix specials has been what has made him public enemy number one among the woke.

In The Closer he once again pulls no punches and peppers his audience with quality bits, like his children’s book titled “Clifford the Big Black N*gger” and his movie idea of a conquering group of entitled aliens returning to earth titled “Space Jews”, both of which are masterly woven and defiantly delivered.

It’s his jaunt through the minefield of feminism and LGBTQ issues though that once again have riled the reactionary woke brigade and incensed the Torquemadas of Twitter. For instance, Chappelle’s blistering insights regarding the class and race issues woven into feminism, #MeToo’s performative idiocy, and the notion that “gays are minorities until they need to be white again”, are ruthlessly on point.

It’s when he once again wades into the dangerous waters of transgenderism though that he is most brutally effective as both a comedian and a philosopher, and is no doubt most offensive to the those with delicate sensibilities laying prone on their fainting couches.

Chappelle declares himself, like Harry Potter author J.K. Rowling, to be a TERF – trans exclusionary radical feminist. He also says “gender is a fact”, and transwomen are the equivalent of blackface, which are such blatantly obvious notions yet are so aggressively labelled anathema in culture today as to be blasphemous.

The hilarious heresy continues when he points out that Caitlin Jenner (formerly Bruce Jenner) won a Woman of the Year award the first year she was ever a “woman”, despite never having menstruated, which in Chappelle’s eyes is like Eminem winning “N*gger of the Year”.

Chappelle then shows off his comedic craftsmanship when he subtly shifts gears towards the end of the show while recounting the tale of his friendship with a trans comedian named Daphne. This sequence is exquisitely executed and funny, but also remarkably poignant and moving.  

Chappelle is accused by the woke of “punching down” with his comedy, meaning that he’s a bully against the defenseless and weak, like the LGBTQ community. But Chappelle goes to great lengths in The Closer to point out the absurdity of this charge, as he observes the LGBTQ community’s enormous cultural power. Chappelle’s evidence for his claim is that the rapper Da Baby actually shot and killed someone in a Walmart in North Carolina and his career never wavered, but when he uttered homophobic remarks, the LGBTQ community quickly got him cancelled.

Nowhere is the woke’s cultural power so evident as it is when it comes to reviews of Chappelle’s own work. Sticks and Stones was adored by audiences who gave it a 99 rating on Rotten Tomatoes, whereas critics gave it a paltry 35% rating. You see, to the woke, especially those in the establishment media or those hoping to work in the establishment media, admitting Chappelle’s brilliance and genius is an impossibility because it’s the equivalent of a hate crime.

The woke approach with The Closer seems to be somewhat similar. I’ve read a few reviews of the show, all of them negative, but curiously enough at Rotten Tomatoes, while the audience rates The Closer at 96%, there is, as of this writing, no critical score listed at all, and only one review posted (it’s negative).  

It seems the woke are changing tactics regarding their boogie man Chappelle, and instead of signaling their virtue through their negative reviews, they’re simply ignoring him.

Unfortunately, Chappelle’s current deal with Netflix is up and I wouldn’t be surprised if they didn’t have him back. The woke wave is a tsunami and it has overtaken all of Hollywood. Even if it costs them money, these streaming behemoths would rather signal their virtue and “allyship” rather than give audiences what they want.

My recommendation is to go watch The Closer and enjoy Dave Chappelle’s brilliance and comedic genius while you can, because the woke are gunning for him, and as much as it pains me to say it, they just might get him.

 A version of this article was originally published at RT.

©2021