Some Like it Hot

In 2022 the 1959 Black and white classic movie Some Like it Hot, starring Marilyn Monroe (Sugar), Jack Lemmon (Daphne) and Tony Curtis (Josephine) was released as a Broadway musical. Predictably, like other remakes of the 21^st century it is swallowed up in wokeness.

The musical set is still in the 1930s and of course embraces the cross-dressing disguise. However, Jerry/Daphne’s character, played by a black American, gender-fluid actor, J. Harrison Ghee, becomes a conduit for gender-schooling of the audience. Daphne’s coming-out, distanced the show from a fictional comedic romp, converting it to an auto-biographical woke drama of grievance and cultural-norm bending.

‘We are all affected by “Diversity”, but few understand its true nature…It isn’t pretty. “Diversity” is a massive long term behavior modification program that uses minorities to disinherit the majority. In English “Diversity” means acknowledging different races, religions and “sexual orientations.” In New World Order Doublespeak, “Diversity” is a devious way to dilute and discriminate against the white, heterosexual Christian majority in Europe, Canada, Australia and the US. While it pretends to advocate equality, its real goal is to guilt mainly heterosexual White males into yielding position and power. The object is to prepare North America and Europe for inclusion in a “world government” run by the central banking cartel [the Jesuit Order] based in London [the City of London within greater London owned by the papacy]. Illuminati2, Deceit and Seduction, 2010, Henry Makow, page 117

Nonbinary Harrison goes by the pronouns she, he, they, bringing his real life to the stage. His character, Daphne, sings the opening number of Act 2, Let’s be Bad. It is an unused song from another show that can only be described as ‘B’ grade. As it takes a swing at American Christian culture, it clearly had to be in the mix. The lyrics scream lust, sexual violence, and homage to Hell.

Daphne - It’s true, your Bible says abstain…while I’m able to raise Cain - Let’s be bad! Even though I’m old as Moses, those commandments he proposes, they don’t end up in a bed of roses - Let’s be bad!...But I’m just beginning, the night is for sinning…Chemistry has certain rules that they don’t teach in Sunday schools. Care to pool our molecules? [says it all!]- Let’s be bad! Minnie - If you say something is taboo well, that’s the thing I wanna do! Do it ‘til I’m black and blue [sexual violence] Ginger - Why stay in with Bible thumpin’? Get your sacred heart a-pumpin’ I got some beans to get you jumpin’! [drugs which is central in gay sex] Daphne - Ladies, I was set for bed until I saw this shade of red [Socialism] I may be good, but honey, I ain’t dead! - Let’s be bad! ALL - Some like it hot [rough self-gratifying sex], and that ain’t bad!

There are no surprises that this show won multiple Tony’s with Harrison, the first non-binary actor to win best actor for his role. Awards are given to ‘useful idiots’ as the elite call those who forward the West towards the one world religion of Mithraism (esoteric core of the papacy).

Hollywood entertainment is at best CIA brainwashing and at worst pagan debased satanic rituals. It is the bold coming out of elite Luciferian culture that once was kept behind closed doors in Rothschild and other elite mansions.

Many seemly innocuous elite rites and rituals are out in the open, hidden in plain sight, and commonly seen on billboards, album covers, Baftas, Emmy’s, Oscars, movies and music videos. Such stunts like the debut red dress, the Luciferian bath-baptism, and hand signs a brushed off as theatrics, but are soft hits on the West. The darker rites and rituals happen deep in the shadows where these “change agents” are required to participate in Aleister Crowley satanic sex-magic rituals. No one get to the top without being selected and puffed. And to keep their place at the top, they must be evangelists for the elite pagan religion.

‘It’s about just following the ritual work. And so, you can fool yourself into thinking there isn’t one, but the evidence will be clear…show me one person that ever wore a dress in Hollywood unsuccessfully. That’s how you understand what a ritual is. So 20 years ago I knew that transgender was going to be a thing…I understood that the earliest I had seen that word transgender was Baphomet the transgender. And so, I knew that in the ritual of Baphomet, the transgender - to show allegiance to him you had to kiss his ass ring…so I knew that both of those things will become popular in the future, and that somehow calling people the ‘Goat’ would be normalized over the ‘Sheep’ being always the most popular reference.’ Katt Williams, actor comedian interview with Joe Rogan, episode 2111, 2024

Western audiences are subliminally being cut adrift from Christian absolutes to be “rescued” by humanistic fake sympathy for those who live on the outskirts of culture. The result is mistrust, abuse and addictions. A Jesuit saying goes, the end justifies the means, and Marx trained by the Jesuits perfected the blueprint means by manipulating socio-economic classes. Today “classes” have been swapped out for sub-cultures.

‘Marx then proceeded to construct the proletariat, or working class [now LBQT class], as the sole repository of all that is good. He declared: “In order that one class should be the class of emancipation par excellence [LBQT], another class [conservative Christians] must contrariwise be the class of manifest subjugation. In a peculiarly Hitlerian vein, Marx outlined the strategic need for “…the concentration of all the defects of society [Christians] in another class, and this particular class must be the embodiment of the general social obstacles and impediments.’ The Great Deceit, Social Pseudo-Sciences: Socialist Wolves in Sheep’s Clothing, 1964, page 86

The pagan culture of cross-dressing and transgenderism goes back to Ancient Greece and earlier. Pagan Rome indulged in it and when papal Rome took supremacy its Mithraic insiders continued the tradition. From late 1500s onward Jesuit drama used boys as the feminine interest; partly because acting was akin to prostitution making hard to find any women who would flaunt themselves so openly. 20^th and 21^st century Hollywood appears to be the same – sex for demi-god status. After all, hollywood is the tree that witches make wands out of to cast spells.

‘The wearing of clothes appropriate to the opposite sex was always one of the rites of witchcraft, as it has been and is of primitive peoples, during their fertility festivals, throughout the history of the world’ Witchcraft, 1965, Pennethorne Hughes, page 108

Hollywood is modern day Jesuit drama and as in the Dark Ages Drama, Hollywood is used for propaganda purposes to keep the population in a prescribed narrative.

‘From the very beginning, the Jesuits used the arts for persuasion. They built grand and beautiful churches and imposing college buildings, recruited artists to join the order, and employed a stable of some of the best lay musicians, architects, and artists of the early modern and baroque periods. Gian Lorenzo Bernini was a close friend of Jesuit General Gian Paolo Oliva, and Carlo Maderno designed the basilica of St. Ignatius at Loyola in Spain. Rubens was a devout member of Jesuit sodalities. Yet it would be a serious mistake to consider the Society’s interest in the arts as a mere aesthetic oddity or concern for making the bella figura. The arts were seen as means to an end, never an end in themselves: concrete, visible, audible ways to come into contact with the invisible and inaudible realm of [Luciferian] spirit.’ Article, Jesuit Drama, Thomas Lucus, member of the Jesuit Order

Hollywood and the multi-billion-dollar media industrial complex are used to nudge souls away from Protestant Christian culture and to the one world Communist-fascist Roman Catholic culture.

‘“The CPUSA was a hotbed of sickos,”…Herbert Aptheker as a dubious example. Aptheker, hailed as the “theoretician” of Communist Party USA, is infamous even among the left…for molesting his daughter, Bettina. Bettina Aptheker, a well-known, open member of CPUSA, today is chair of Women’s Studies at the University of California at Santa Cruz. Divorced and now married to a woman, she applies her Marxism culturally and fights for lesbian, bisexual, homosexual, “queer,” and transgender rights. Like so many classical Marxists, her radicalism became cultural and sexual.’ The Devil and Karl Marx, 2020, Paul Kengor, page 274

Cross dressing and transvestitism through the modern era have been part of Catholic Europe theatre stage for hundreds of years, at least in the progressive big cities like Paris - but not so in the Protestant West.

Cinema moguls like to propagandise that films reflect popular culture, but it is not hard to see they drive popular culture. Motion pictures and television have proven to be the ideal Trojan Horse to destroy Christian culture from within. Not even children’s animated films are free form adult content including trans-gender indoctrination.

‘Not long ago, the gay rights movement was a small group of people…Their story was tragic, their suffering dramatized by AIDS and Rock Hudson, Brokeback Mountain and Matthew Shepard. Today’s movement, however, looks nothing like that band of persecuted outcasts. The LGBT rights agenda—note the addition of “T”—has become a powerful, aggressive force in American society. Its advocates stand at the top of media, academia, the professions, and, most important, Big Business and Big Philanthropy.’ Jennifer Bilek, The Billionaires Behind the LGBT Movement, 2020

Cross dressing was forced upon America’s earliest films. Charlie Chapman’s silent movies were not shy on pushing the boundaries – all in the name of comedy of course. In 1914 Chaplin dressed as a woman in Masquerader, which was banned in England due to its transvestite theme. That same year he dressed as a woman in A busy Day, followed in 1915 in A Woman. In A Woman he took the gender identity and homosexual statement to a new level. A hundred and ten years later audiences still find it uncomfortable.

However, the proverbial horse had bolted and with what can only be described as half-hearted curtailing attempts by government, and cinema owners, cross-dressing became acceptable on screen.

In 1929 (Stan) Laurel and (Oliver) Hardy movie Stan is dressed as a woman in That’s my Wife still using comedic slapstick, but it did the job.

To stop government censorship following the trial of Fatty Arbuckle’s 1921 and endless other sex scandals, Hollywood moved quickly creating the Hays Code. Government intervention was the catalyst not the years of public outrage. Moral decline in movies slowed but didn’t stop. Through the 1930 cross-dressing movies like the 1936 Sylvia Scarlett with Katharine Hepburn. Comedic covers were slowly taken off as humanistic mind reassignment was written in to the script.

The decade of the 1940s saw more cross-dressing, often under the patriotic cover as the 1949 I was a Male War Bride starring the closet homosexual Cary Grant.

But it was what has become the quintessential benchmark film that sealed the fate of propriety, at least in America. The release of Wilder’s risqué Some Like It Hot starring Lemmon, Curtis and Monroe. Although it was a comedy, it pushed the boundaries of humorous cross-dressing blurring it with homosexuality inuendo. The film nearly didn’t get to theatres, but for the tenacity and marketing by the director.

Some Like It Hot opened the door to psycho-thrillers in Hitchcock’s 1960 Psycho. Norman Bates was played by the up-and-coming actor Anthony Perkins, who had been first cast for Some like it Hot. But being a homosexual, Paramount Pictures swung into crisis mode, billing him in female heart-throb roles and spinning stories about his conquests with the ladies to save his career. Psycho was the first movie to associate transgender with trans-killing which has become the norm today, confirming that Hollywood drives culture.

By the 1960s American and British movies subtly shifted from cross dressing to featuring transgender performers like Candy Darling. Such activist actors aggressively promoted themselves and were used to challenge the West’s gender norms and soften the public to accept homosexuality.

These [1960s] roles acted as a bridge between the heavily censored, coded queer portrayals of the 1950s and the more explicit explorations of gender and sexuality that arrived in the 1970s and beyond, often portraying gender nonconformity as a spectacle or threat. google

In the 1970s the iconic 1975 Rocky Horror Show depicted a young heterosexual couple as old fashioned and boring. This was the time of the Vatican run Vietnam War, publicly known at the time as (Roman Catholic Bishop) Spellman’s War. This was a very vulnerable time for American society. The war dialectic polarised the country, and the West. Dr. Frank-N-Furter played by Tim Curry, still stands as the benchmark for flamboyant cross-dressing roles. He was the sweet transvestite from Transsexual, Transylvania that successfully glamourised homosexuality and cross-dressing.

Films from the 1980s through to the early 2000’s upped-the-ante, and cross-dressing became a rite of passage for A-Listers like Dustin Hoffman in Tootsie, Barbra Streisand in Yentl. Disney from the early days were tucking sexuality into their cartoons priming them for teen-movies like the 1985 Just One of the Guys - here partnering crossdressing with the feminist cause.

The next big movie milestone was in the 1990s now Performative Gender with the release of Priscilla Queen of the Desert. And by the end of the 20^th century and into the 21 cross-dressing was not even a word the public used; Coded gentle multi-meaning words like “gay” and “Trans” became the common vocabulary.

Transgender Focus: Many films began to focus on the nuance between cross-dressing and transgender experiences... GOOGLE

In the 1950s, Austria-Hungary (now Poland) born Jew, Billy Wilder was on a mission. He had spent much of his early years in Berlin’s seedy night life making amateur movies and he wanted to become professional. He immigrated to American where Paramount Studios employed him. But it was not too long before he felt constrained. Paramount made commercially successful movies making content that appealed to the Christian American audience. Wilder was able to get out of his contract with the Paramount and went to work with United Artists, a film distribution company Charlie Chapman had founded.

‘Billy, because he wanted his next film to be all about drag he’d gotten the idea from a depression-era French movie called fanfares of love about two unemployed musicians who put on a series of disguises in order to get jobs including at one point disguising themselves as women to work in an all-girl band it was a popular movie that inspired a 1945 film in Sweden and a 1951 remake in Germany Billy…bought the rights so he could make an American.’ Behind the Scenes of Some Like It Hot, documentary, 2023, Matt Baume

What was acceptable to the exotic sexual tastes of Europe, was an anathema to church going Americans. This did not deter Wilder; he followed drag films of the past and was determined. Through his contacts among the transvestite community in Europe, he commissioned Barbette the stage name of Vander Clyde Broadway, a famous drag performer in France to teach Curtis and Lemmon how to feminise. He commissioned Australian designer Ori Kelly, who was Cary Grant’s lover, to be the custom designer for the movie. He managed to get actors from the gay community through Joni Hannon, who ran a Lesbian-gay night club with her homosexual brother. Hannon got a cameo appearance in Some Like it Hot.

Once the turbulent filming process was complete Wilder had to spend time and resources pushing it through the PCA (Production Code Administration), who had initially rejected it on multiple moral grounds, not just drag. But Jeffrey Sherlock the head of the PCA defaulted, giving Some Like It Hot the go-ahead.

Christians under the National Legion of Decency umbrella wrote to the PCA with complaints that the film was seriously offensive to Christian and traditional standards of morality in the country. America agreed and most all cinemas and audiences boycotted the release.

‘It was the worst reaction of any film I have ever been in…mothers and fathers were just taking their children by their hand about 10 or 15 minutes into the film and marching out of the theatre’ Jack Lemmon (Daphne)

Wilder brought in a team of marketers and finally found willing audiences. Eventually Some Like It Hot, a clear title to sexual exploitation, was accepted.

‘TO CHANGE A man into a woman or a woman into a man is to change identity. Thus, the goddess [Ishtar] possessed the power to transform identity. So, she would now set out to transform the identity of America. The American metamorphosis that spanned the mid-twentieth century to the early twenty-first century was so radical and profound that the latter America would be largely unrecognizable to the former.’ Return of the gods, 2022, Jonathan Cahn, page 279

Sherlock had been raised as a follower of the spiritual mystic Helena Petrovna Blavatsky and her Theosophy Society. It was Blavatsky who revamped pagan ancient mystery religion worship of the goddess Ishtar with all her pagan sexual rites, rebranding it the New Age Religion. It is her works, along with Alice Bailey’s that is the philosophical seat of the United Nations.

‘…Simultaneously, the LGBTI Core Group was formed as an informal cross-regional group of United Nations member countries to represent LGBTI human rights issues to the U.N. Core Group members funded by Arcus include Outright Action International and Human Rights Commission.’ The Billionaires Behind the LGBT Movement, 2020, Jennifer Bilek

It was Sherlock who opened the door for Hollywood to release any content. The PCA closed and he facilitated the modern film rating system assessed appropriate audience ages - G rating – Adult only, opening the door to blatant pornography in cinemas, Netflix etc. today.

‘Upon its return to the world, the ancient spirit would set out to accomplish its mission. It would seek to alter the definition of male and female. It would move to blur the lines and nullify the distinctions between the two. It would act to transform the nature of man and woman. It would seek to feminize all that was male and masculinize all that was female. It would attempt to turn man into woman and woman into man. It would war against the sanctity of sexuality and gender by confusing the two and merging the one into the other and the other into the one and, by so doing, seek to nullify them. It would appear first at the fringes of society, where Ishtar was known to have dwelled. But then it would come into the mainstream and begin permeating every part of culture, leaving almost no facet of life untouched. It would usher in the next stage of America’s paganization. And it would become the chief hammerhead to smash the biblical foundations of Western civilization.’ The Return of the gods, 1982, Jonathan Cahn, Page 157

Crossdressing became drag, drag became gender-fluid, gender-fluid is now pushing for pederasty.

Society, the first sustained gay rights group in the United States, as well as the Radical Faeries, a loosely-affiliated gay spiritual movement.” Among these, NAMBLA is the infamous North American Man-Boy Love Association, which advocates for pedophilia and pederasty and seeks to abolish age-of-consent laws to allow adult men to have sex with boys. The organization gives pause even to the most sexually accepting “progressives.” It encourages adult men to find and “make love” to young boys. It encourages grown adult men to become wondrous “boy lovers.” Its founder was a committed communist: David Thorstad, a prominent gay rights activist, a former president of New York’s Gay Activists Alliance, a member of the Trotskyist Socialist Workers Party, and a staff writer for the Trotskyists’ brutal newspaper, the Militant.’ The Devil and Karl Marx, page 281

Hollywood is the humanistic softener agent for moral decay, a prerequisite for transhumanism.

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