“In today’s world, any one of us is just one emotionally unstable activist’s political theater away from the cancellation.”
Would you believe that the actress Julia Sweeney had a sit down with trans and non-binary comedy writers in order to straighten out the current issue with the old IT’S PAT?
The summit between Julia Sweeney and a panel of “trans and non-binary comedy writers” is the ultimate set piece in the theater of the absurd. The very premise—that a comedian must sit in a circle of professional victims to deconstruct a thirty-year-old sketch—is a testament to the dementia of our era.
These are people who have traded the “Silly” for the “Sanctimonious.” There is a fundamental biological reality at play here: you cannot be funny when your entire identity is a high-maintenance political project. The moment these individuals ditched their gender, they ditched the “funny stuff.”
Their first project was to cancel IT’S PAT, saying that watching the film “Scarred them for life.” Then, when that didn’t work, they now pretend to embrace the film as a seminal element in the evolution of queer culture. Funny how I used the words seminal and non-binary in the same paragraph, right?
Here’s the thing: Even though gay people make up just a small-ish slice of the population, they often show up in comedy and creative fields way more than you’d expect based on sheer numbers.
They’ve even excelled in areas of comedy because gay men are creative. Yes, that’s a stereotype, but it’s also a fact. Part of the creativity inherent to gay men is that they can be very clever, witty and hilariously funny. This isn’t some great revelation. Gays are funny even if they aren’t playing gay. Sorry, but if you scan the trans or non-binary crowd, there’s not a lot of laughter or creativity. To the casual observer, they only have victimhood and each other for company. This is why they’ve co-opted the gay community as their own — they need the numbers.
Comedy requires a level of detached irreverence and a willingness to look at the absurdities of life, but these activists are too busy policing the boundaries of their own fragile egos to ever land a punchline. They aren’t writers; they are ideological hall monitors.
Anyway, “IT’S PAT” has essentially been cancelled and so has Shakespeare’s “The Merchant of Venice.” And by two different camps, too.
You know, there is a specific type of dementia that takes hold of a movement when it loses the ability to recognize a joke without wanting to deconstruct it into a crime. We are currently witnessing a pathetic, coordinated assault on the foundations of Western culture—ranging from the 400-year-old play about a greedy loan shark to Julia Sweeney’s 1990s absurdist comedy, It’s Pat. This is the work of a class of professional victims who have traded their souls for a lifetime subscription to grievance. If Shylock had been written as a grubby and hypocritical Evangelical Christian preacher, The Merchant of Venice would be playing to packed houses. This doesn’t excuse antisemitism, but it’s a frigging play, for chrissakes.
The height of this absurdity was reached when Julia Sweeney, in a display of ultimate spinelessness, sat down for the aforementioned “summit” with a panel of trans and non-binary comedy writers. The goal of this meeting was to “interrogate” the “harm” caused by a fictional character whose entire punchline was simply being a mystery. The very premise of this meeting is a testament to the mental decay of our era. It is the ultimate “Administrative State” move: hauling a comedian before a committee of the perpetually offended to apologize for a thirty-year-old sketch. Uh…Fuck them!
The Death of the “Funny Stuff”
Let’s be blunt about the “talent” in that room: these people are not capable of writing comedy because they simply aren’t funny. They ditched the “funny stuff” the moment they ditched their gender. Comedy, at its core, requires a level of detached irreverence and a willingness to look at the absurdities of life without flinching. But these activists are too busy policing the boundaries of their own fragile, high-maintenance egos let alone land a punchline.
You cannot be a comedian when your entire identity is a protected political project that requires 24/7 maintenance and a shield from all criticism. They view a silly movie through the lens of 2026 neuroses, demanding apologies for a time when we were allowed to laugh at the weird without checking an HR manual first. They want to turn the world into a sterile, humorless laboratory where every joke is “violence” and every laugh is a “microaggression.”
The Phony Dames and the Merchant of Venice
This stupidity has reached the very rafters of the high arts. Take “Dame” Judi Dench – and I use the word “dame” the way Frank Sinatra would, as a label for a certain type of old broad, not as a tribute to her title. This one-dimensional phony recently crawled out of her ivory tower to proclaim The Merchant of Venice a “horrible play.”
Why? Because she’s a phony looking for a pat on the head from the elite.
One has to wonder: is her sudden “moral awakening” regarding Shakespeare’s masterpiece related to the fact that her manager, her agent, her publicist, her lawyer, and her accountant all happen to be Jewish? It’s the ultimate Hollywood act—pretending to be “offended” by 16th-century literature to keep the checks flowing from the people to whom she’s actually beholden. She is a one-dimensional actress playing a three-dimensional game of virtue-signaling, and she thinks the public is too stupid to see the strings. Screw her—she’s just another cog in the machine of cultural cleansing.
SHYLOCK is a character in The Merchant of Venice He has been cancelled. However, he has not been cancelled on college campuses because they don’t like Jews there.
The Rotten Tomatoes Agenda – The stupidity continues because Rotten Tomatoes is done.
If we follow the logic of the “Pat-Haters” and the Dench-class, then the entire canon of Western culture must be hauled to the incinerator.
Should Elmer Fudd be banned because his “wabbit season” routine might hurt the feelings of people with speech impediments? Should we erase every character who doesn’t fit the sanitized, “non-binary” mold of the week? No, sorry, you real life Pats out there. I think Elmer Fudd is funny. If you don’t like Bugs Bunny cartoons, get out of my room.
The fact that Rotten Tomatoes currently maintains a 0% score for It’s Pat is more than ample reason to dismiss that website as a digital rag with a blatant, joyless political agenda. It is no longer a movie review site; it is a tool for social engineering. When a platform uses its rating system to punish a film not for its lack of craft, but for its failure to anticipate the “woke” mandates of 2026, it renders itself entirely irrelevant. A 0% rating isn’t a critique; it’s a signal of submission to the new cultural police. The “Pat” movie controversy makes Rotten Tomatoes irrelevant for anyone who actually values the truth.
The Harvest of the Miserable
The Left hates It’s Pat for the same reason they hate Jack Hughes: because it represents a “Standard” of American irreverence and excellence that they cannot dominate. They hate the light because it exposes the gray, dusty reality of their own spirits. They want a world of “gray slugs”—utilitarian, efficient, and perpetually offended.
By encouraging this joyless-unless-trans, the joyless managers are effectively deleting the human operating system. They are replacing real history with a series of “Trigger Warnings” and “Historical Harms.” They want to replace the “All-American” sense of play with a grim, Soviet-style realism where the only permitted “art” is that which reinforces the Party’s latest neurosis.
BIBLE VERSE:
(Matthew 6:22),” Those with darkness within them can only see darkness in others.”
WHY I CHOSE THIS VERSE:
The Left hates the light because it exposes their own decay. They can keep their “trigger warnings,” their phony titles, and their humorless “writer’s rooms.” We are keeping the comedy, we are keeping the classics, and we are keeping the light.
A Prayer for the Humorless
Heavenly Father,
We pray for those who have lost the ability to laugh. We specifically lift up those who have traded their joy and their gender for a life of sterile political activism. We ask that You soften the hearts of the trans and non-binary individuals who currently find themselves trapped in a vacuum of humorless grievance—people who have Zero sense of humor left in their souls.
Lord, show them that life is not a series of microaggressions to be policed, but a gift to be enjoyed. Break the spirit of the “hall monitor” within them. Help them to see that when they ditched the “funny stuff,” they ditched a part of their own humanity. Grant them the grace to look in the mirror and laugh again—to see that the world is bigger than their neuroses and that Your light is stronger than their darkness.
Amen.
