Pride and Prejudice in Scandinavia: Drag Queen Story Hour

Welcome to the Culture War du jour, Nordic Style: Gaslighting, Agit-Prop, and the Return of 'da Science™' to Justify an Ideological Crusade--Nothing New Under the Midnight Sun

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German version here, courtesy of TKP.at.

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Credit: Jennifer Ricard, Barbada de Barbades 3, CC BY-SA 4.0

Paraphrasing a well-known Chinese dictum, we do live in interesting times. One of the most sensational phenomena these days is the increasing normalisation of behavioural patterns that in the not too distant past had very clear—negative—connotations or were largely limited to fringe groups: tattoos or the increasing sexualization of minors by both the clothing industry (‘Big Clothing’) as well as entertainment programs for adults (‘Drag Queen Story Hour’), which are now increasingly ‘offered’ to young children. Part 1 of an in-depth report on how these phenomena are ‘impacting’ northern Europe these days.

On June 12, 2023, the time had finally come: at the invitation of the Green Parliament Club, Drag Queen ‘Candy Licious’ appeared in the Austrian Parliament and participated in a hotly contested ‘Drag Queen Story Hour’ alongside Sigi Maurer, Chair of the Parliamentary Faction of the Greens . To say that such events are ‘controversial’ is probably one, if not the, understatement of the year.

While finding information about a politician like Ms. Maurer is quite easy, it is far more difficult to find much about the aforementioned drag queen, Candy Licious. Although there are quite a few websites (e.g., here, here or here), they offer little or no details.

Here in Norway, the topic is very present this June: rainbow flags are everywhere, ‘Pride’ is on everyone's lips and legacy media runs several pertinent pieces (of varying quality) each day.

By comparison, legacy media in the German-speaking lands, however, it is noticeable that reporting in Norway is much more ‘balanced’, even if it is by no means an even split between pro and contra voices. (Switzerland, it should be noted here, is more like Scandinavia in terms of the variety of contributions to this topic.)

Here you will find excerpts (in my translation and with my emphasis) from two articles that have appeared here in Norway: on the one hand, a long, elaborately designed article entitled ‘Dragkampen um barna’ (lit., ‘Drag Fight for the Children’), which appeared in the Oslo newspaper Aftenposten on 3 June, 2023 . Written by Monica Strømdahl and Kari Mette Hole, the approximately 2,000-word contribution documents the Norwegian specifics of the currently very intense culture war over the ‘Drag Queen Story Hour’ using the example of Nabi Yeon Geisha.

In order to better understand the motives of ‘drag artists’, I have also translated some excerpts from an interview with Remi Johansen Hovda (31 years old today), the person ‘behind’ drag queen Nabi Yeon Geisha. This portrait was put together by Martin Næss Kristiansen and appeared about two years ago and on 11 June 2021 in Dagsavisen under the title ‘Er både Remi og eventyrdronning’ (lit., “Both Remi and Fairy Tale Queen’).

Drag Shows as Children’s Entertainment, But Not Everyone Cheers

Just under a dozen kindergarten and elementary school children have gathered for a performance by Hovda at Nygårdsjøen Oppvekstsenter, some 20km south of the northern Norwegian city of Bodø. Appearing with sophisticated imagery, Strømdahl and Hole let the drag queen have her say right at the beginning:

‘My name is Nabi Yeon Geisha and I am a real queen. Not like Queen Sonja [of Norway], but a drag queen! This is what we drag queens look like. With colourful clothes and hair—and a bit of make-up’, explains the geisha with a smile.

Apart from the banal and distorted historical realities, the report paints a thoroughly ambivalent picture:

Drag artist Remi Johansen Hovda (31) is at school for the second time today. He was hired by the Den kulturelle skolesekken [a charity offering a variety of spare-time arrangements] in Nordland County to tour with the concept ‘Dronningtimen’ [lit., ‘Queen Time’]. There he tells fairy tales written by himself that feature a queer twist and encourages the children to be themselves…

On this day the children hear the story of the little boy Tio. The others in the class call him a girl boy because he likes a TV series they think is for girls. Fortunately, the story has a happy ending.

So we learn that Hovda reads self-written ‘fairy tales’—fantasy stories. It is obviously a ‘queer’ narrative, but it has ‘a happy ending’, as Strømdahl and Hole point out. However, Aftenposten does not provide any details about the content of the story of little Tio.

To questions from the children—including, ‘is it your job to dress up like a lady?’—Hovda is quoted responding as follows:

I have found that the best way to deal with prejudice is to answer their questions honestly. And I’m saying I’m an actor dressing up as a drag queen.

However, Hovda is not “only” an actor, but is also listed as an assistant professor at the Oslo Metropolitan University , whose only (!) work cited stems from 2015. It bears the title ‘Den stygge Andy’ (lit., ‘The Ugly Andy’), comprises a mere 9 pages, and is about an art project focussing on cross-dressing among Canadian soldiers in WWII.

Hovda, on the other hand, is very active on social media, and in addition to relevant photographs, his Instagram account also contains references to the ‘Oslo Drag Festival’ and the ‘Oslo Fagottkor’ (lit., ‘Oslo Faggot Choir’). If you (want to) click the link to Hovda's Instagram account, please ensure that minors do not see this content.

Sideshow: Who is ‘Geisha Hovda’?

At this point we turn to the interview with Hovda that was published in Dagsavisen about two years ago . Kristiansen opens his interview with the following statement or question:

I associate drag queens with tanned, masculine-featured ladies who put on relevant shows in the south! But you also read children’s stories?

[Hovda, n.d.] Hehe, yes, in full royal garb, with long hair that glitters, colourful make-up, and a long dress. At the same time, I portray a character who takes children seriously. My stories always have a queer twist, and in their form, they’re kind of a mixture across society and identity. The message is that it’s okay to like what you like. The purpose of ‘Dronningstimer’ is also to give children a queer role model and to introduce them to a different expression than something normal. You can be yourself—even if you may be perceived as different.

Asked about dressing up, which, according to Kristiansen, unites children and drag queens, Hovda responds as follows:

I’m like a persona manipulating my own expressions. I think it’s great fun to create a point in the room to which everyone is attracted to. In disguise I feel a bit like Superman, only Superman takes off his glasses to display his super powers while I put on the wig [to reveal ‘super powers’ ed.]. I think kids feel the same way when they dress up—they play with their super power by playing with their facial expressions. For me, this transformation was very strong when I started in 2013, but now Remi and Geisha have become more like each other. But geisha is more and more of an art character because the public sees me as a fairy tale character. I’m real but at the same time warm and adapted to a young audience to make the kids feel safe.

Beyond the borderline narcissistic self-perception (‘superpowers’), the highlighted part is particularly striking: although it remains unclear where the actor Hovda gets his certainty about what children feel, these statements at least point to a not unproblematic equation of an artificial persona (geisha) and the actor behind it. It also remains unclear whether Hovda or his fictional persona is speaking here.

What stories does Hovda read to young children? In the article, a story—written by him—entitled ‘Metallhertet’ (lit., ‘Metal Heart’) is discussed:

It is about a robot child who is both a little boy and a little girl trying to find a way to be like everyone else. But they encounter various challenges along the way, and it wasn't necessarily what they wanted. But you have to listen to the rest for yourself!

[Kristiansen] What do you like so much about the story?

[Hovda] The story addresses a topic that I think many children and young people are familiar with: adaptation, something I felt as a child as well. Although it is a robot and has been programmed, the robot also has a character of its own.

Pay attention to the revealing formulations, regardless of whether they were made consciously or unconsciously: people whose biological sex cannot clearly be identified at birth are called ‘intersex’. The UN High Commissioner for Human Rights cites (unnamed) expert opinion that ‘up to 1.7% of the world's population’ would fall into this category.

The processes of adjustment that children and adolescents have to adapt to, as referred to by Hovda, falls into the phenomena—rites of passage—of ‘socialisation’ and ‘puberty’.

It becomes particularly strange when Hovda is asked about the children’s reactions to his fairy tales:

Often they don’t care that I'm a drag artist and often they don’t even know what that is. The kids are open-minded but curious about what they see, like the effects I use. And they often ask about the content of the story. Examplary questions from an elementary school I attended include: [child] ‘Why did you dress up?’ [Hovda] ‘I thought it would be nice if I came to visit.’ [child] ‘Oh, you don't have to!’ Prejudices and attitudes are what we adults teach to them. Children hear maybe a hundred adult voices over the course of their childhood, and I think it’s nice when you’re the one who says something different.

Of course, I don’t know if Hovda has parental responsibility himself, but the summary statement that it is all parents who ‘inculcate prejudices and attitudes…’ in their children seems consistently problematic, not least because Hovda also points out, in the same breath, that ‘it’s nice when you’re the one who says something different’.

‘More’ on this shortly, but before we dive further into the details, we should let Hovda tell a bit more about his childhood and youth. Asked about his “childhood hero’, the answer is as follows:

That was probably my grandmother. She taught me how to knit, crochet, and be creative. Yes, and some female superheroes and witches.

[Kristiansen] Did your grandmother understand you?

[Hovda] Yes, I think she got me early on. I’ve also been myself and female from a young age, so it wasn’t a shock when I told her I have a boyfriend. She just said I can love who I love as long as I’m happy. It was different with the boys at school, and it took a few years during which I often hear that I am different.

Asked about the differences between him and the persona he embodies, Hovda replies:

Geisha likes to be the centre of attention and to have a lot of people around her. Remi is a bit more shy.

[Kristiansen] What super power would you like to have?

I want to be able to fly so I can see more of the world and see things from a new perspective. I'm from Oslo and the Groruddalen but I live in Gol, which is nice.

Here we conclude the background (‘sideshow’) and return to this year’s long article in Aftenposten .

Woke Culture War in Norway

These parts of the 2021 interview are important for both contextualising the previously reported content and to understand the ‘spin’ the rest of the content of the article by Strømdahl and Hole in Aftenposten. This is important because

there is no shortage of criticism and prejudiced characterisations of exactly what Remi Johansen Hovda does. Pedophilia, grooming, and inappropriate sexualisation are some of them.

This stems mainly from the USA, where ‘Drag Queen Story Hour’ and ‘Transgenderism’ have become very dominant topics in legacy media in recent years. In March 2023, Tennessee became the first state to criminalise such activities: ‘Drag artists’ are now threatened with fines of up to US$ 2,500 or up to six years in prison for repeat offenders. At least 14 other states are discussing similar or more stringent legislation.

The first drag queen readings took place in San Francisco in 2015, and since then they have spread these activities across the US and Western Europe, with progressive/left groups participating and conservative/traditional Christian groups opposed. This ‘division’ can also be clearly observed in Norway—and elsewhere in Western Europe.

This is illustrated in Aftenposten with some comments by the Dutch-Norwegian writer Carline Tromp, author of the non-fiction book Kulturkrig: Det nye ytre høyre og normaliseringen av det ekstreme [lit., ‘Culture War: The New Far-Right and the Normalisation of Extremism’) published by Cappellen Damm in 2022. When asked about the background or causes of this polarisation, Tromp replied:

Drag shows were included kicking and screaming in this culture war.

According to Tromp, men in women's clothing—cross-dressers or transvestites—have ‘overtaken mass immigration as the primary enemy among anti-woke sections of the extreme right and Christian conservative groups’. According to Tromp, it is also interesting that, just a few years ago, the same right-wingers defended liberal Western values ​​such as ‘pride’ and LGB rights against Islam, which was assumed to be ‘authoritarian’. [As an aside, I’m unsure about Ms. Tromp’s sources on that one, esp. as I’ve yet to see loads of evidence for this claim—alas, Aftenposten does not provide any.]

Note that, following this simplistic argument—really: sleight-of-hand—, any politician or country that does not ‘appreciate’ LGB rights to the same (extreme) degree will thus be categorised in the same way. Prime examples of this black-and-white world view would be Viktor Orbán's Hungary or Russia, which are repeatedly subjected to such ‘criticism’ due to the ban on advertising LBG topics to minors.

According to Ms. Tromp, though, this ‘hatred’ of ‘queer people’ has spread to many ‘right-wing’ groups that now hold the belief that there is a conscious plan, directed by the state, spread by legacy media or LGBT+ organisations, to eradicate biological differences between men and women and to indoctrinate children from an early age that there is no biological sex or that, if it existed, it is ‘socially constructed’:

Drag queens have become symbols of everything the extreme right thinks is wrong.

Now, Ms. Tromp is free to express her opinions but the main problem here is that it is by no means ‘extreme right’ if one does not want to expose one’s children to the described content or transvestite performances. It is, in fact, enormously significant: it is, of course, one thing for society to decriminalise homosexuality (which, roughly speaking, happened from the 1970s onwards)—but it is something completely different to offer sexualised content for kindergarten and elementary school children and thus contribute to the normalisation of such behavioural acts.

Drag Queen Story Hour in Scandinavia

In neighbouring Sweden, the Sweden Democrats (SD), typically referred to by legacy media as ‘right-wing populists’ and ‘anti-immigrant’, are trying to prevent drag queen story hours for children.

In this context, SD party leader Jimmie Åkesson asked in a recent televised party leader debate whether it was permissible to read Nazi materials to young children.

In Denmark, emotions ran high recently outside a library in Copenhagen. The mood was explosive on social media: ‘I would have killed her with my bare hands’ was among the comments online. Drag Queen performer Magnus Lykke Johansson (25) had to read similar comments about himself and his colleagues.

Johansson is the drag artist behind Diana Diamond, who, along with partner Di Di Cancerella, was hired to perform at a drag queen reading hour for children (sic) at Copenhagen’s Frederiksberg Library in March. Regarding Johansson:

We have been accused of being pedophiles and manipulating children. I received death threats. That was very uncomfortable.

For weeks, the Danish newspapers were full of pieces on drag queen story hours. Member of Parliament Mette Thiesen of the—by its nature, of course, ‘right-wing populist’ (as Aftenposten writes)—Danish People’s Party was among those who claimed drag shows sexualise children and confuse them about their gender.

Johansson simply said—devoid of any hints reeking of reflection or introspection—that he was surprised and, above all, sad about the ‘hate’ that he and his colleague encountered. He had previously organised drag shows for children and has said he had never received negative publicity before. As reasons for this ‘hatred’ he mentioned that his opponents are

influenced by what is happening in the United States. They thought we would be on stage undressing for the kids and encouraging them to change their gender. In reality it was a Disney princess show where we read fairy tales and sang.

In total, according to the Danish television channel TV2, around 50 people came to demonstrate against the drag queen reading hour—and, allegedly, five times as many people in favour, replete with rainbow flags and glitter. ‘It strengthened my belief that what we’re doing matters’, said Johansson.

Resistance in Norway

Finally, after this long detour, we shall return to Norway to shed light on the massive differences in reporting in legacy media: although a more detailed media panorama follows in the next instalment, it should already be pointed out here that the plurality of viewpoints is disproportionately larger here in Norway than in, say, Germany or Austria.

Time and again, national media—both public and private—report that not only is there resistance, but that these groups are also given appropriate space.

Author Tromp and many ‘woke’ journalists like to ‘frame’ anything and anyone outside of their own opinions as ‘extreme right’ or ‘right-wing populist’. Ultimately, it doesn't matter what it’s actually about, be it the Corona mandates, the Ukraine war, or drag queen story hours.

Criticism of the latter consideration in Norway comes mainly from concerned parents like Peter Risholm. A father of three , he takes the following view:

All I can see is that drag plays with sex and sexuality and is therefore unsuitable for children.

Risholm is one of the founders of ‘Foreldrenettverket’ (roughly: ‘Parents’ Network’), an organisation that ‘wants to support parents who do not agree with Pride labels and the spread of gender ideology in kindergartens and schools’.

Risholm emphasises that he doesn’t believe that people who perform as drag queens in front of children have bad intentions. But he thinks ‘drag shows’ are adult entertainment forced upon children, even if it comes in the form of fairy tale readings.

More from Mr. Risholm:

This is part of the big rainbow pie and is part of the broader sex-political activism being pushed on our children these days in schools through ‘Pride’ activities, week 6 [sex education], and now in school textbooks. Sexual activism had no place in elementary schools.

Risholm says his engagement is not about fear-mongering or anything like that, but he maintains that drag shows are fundamentally unsuitable for children: ‘For some, it can lead to confusion about their own gender if it is not clear whether the drag performer is a man or is a woman’, he says. ‘I don't think [these readings] contribute positively to the children’s confidence.’

Narcissism and Overcompensation—in its Purest Form…

The contrast to the self-perception of some drag queens could hardly be greater.

We already learned that Remi Hovda had a not too-nice childhood due to his sexual orientation.

According to Strømdahl and Hole in Aftenposten, Hovda believes ‘drag is a superpower. And that it’s important to show them to the kids.’ Nuance or the question whether it is appropriate to show this ‘superpower’ to someone else’s kids never seems to have entered Hovda’s seemingly eternally spotless mind.

The 31-year-old from Oslo is a trained drama teacher and is currently teaching under the aegis of the newly launched continuing education program ‘The Art of Drag’ at Oslo Metropolitan University. He has been organising his own drag shows for children for six years now and was one of the first in Norway to do so. Asked why, Hovda gives the following answers:

It is important to me that children and young people have the best possible conditions to become independent, critically thinking adults. Confronted with different forms of expression, one can become more tolerant and prevent xenophobia. But I also want to acknowledge the children who recognise themselves in the stories or expressions I show.

Do keep in mind that Hovda makes up his own ‘queer’ stories and reads them to children.

It’s also important to note that Hovda himself was, by his own admission, ‘such a different kid’: someone who liked Barbie dolls, ‘girl shows’ on TV, and dressed up as heroines and witches, as related by Strømdahl and Hole. Hovda recalls his childhood and describes himself as ‘a feminine boy with different behaviours and interests than the other boys’ who ultimately ‘had to realize that there are other ways to be a boy and that’s okay’:

I felt very lonely growing up, I didn’t have anyone like me.

And those memories are what made Hovda relish drag: the opportunity to create a larger, different version of himself. Or, as Strømdahl and Hole put it, he ‘discovered superpowers he didn’t know he had’:

Wearing clothing of the opposite sex is about empowerment—you get more agency than society permits.

Incidentally, Hovda has not encountered the same opposition in Norway to his drag activities as his colleagues abroad, although he has occasionally been told that what he is doing is perverted and disgusting.

While he doesn’t care about criticism, he can understand parents who are skeptical when their children see drag shows or associate it with something that belongs in a bar or nightclub, as opposed to a classroom. According to Hovda, the critics ‘misunderstand what drag means for children’:

The fact that travesty is sexualised is something adults make of it, but children don’t. You only see a queen in a huge costume. And who are the experts when it comes to dressing up and creating roles? It’s the kids. Drag is the play language of children.

…and a Dose of ‘da Science™’

The borderline-absurd thing about such contributions or references—do consider that Hovda is an actor who offers ‘expertise’ on developmental psychology—is that the content is clearly conveyed through seemingly ‘objective’ reporting.

This is a well-known phenomenon that is well known throughout almost all legacy media when it comes to the topic of ‘drag queen story hour’.

In Aftenposten this is done through the backdoor by invoking the expertise offered by on Dr. Svein Øverland, who is introduced as ‘a specialist in child and adolescent psychology’. His (Norwegian) Wikipedia entry also identifies him as an expert on legal issues and psychology; he was also editor of the now defunct scientific Journal for Clinical Sexology (2003-13) and is repeatedly referred to as an ‘expert’ in legacy media (e.g., here ). He currently works as a police psychologist in Trondheim.

According to Øverland, children may be divided into three groups, as reported by Strømdahl and Hole:

‘About 70-80% find [drag shows] simply funny. A small group finds it liberating because it shows them that they don’t have to be like everyone else. And some don’t like it’, he says, referring to a 2021 American study published in the Journal of Creativity in Mental Health.

Øverland doesn’t think children get confused when they learn about gender identities at school. He points out that while there is a lot of talk about the increase in children who feel like they were born in the wrong body, this still only affects up to 1% of children.

On the basis of these two paragraphs, the propaganda methods mentioned can be clearly recognised: on the one hand, reference is made to ‘an American study’, but it is not only not linked-to, but a brief glance shows how ideologically-motivated—and thus abbreviated—its findings are reproduced.

This study, entitled ‘A Rainbow For Reading: A Mixed-Methods Exploratory Study On Drag Queen Reading Programs’, was published by Brie Radis et al. and it makes sense to cite the results of the study here (with my emphasis added):

This exploratory mixed-methods study sought to understand some of the potential psychoeducational benefits of drag queen reading programs. A short mixed-methods survey was employed that asked caregivers about their experiences with drag queen reading programs. Since this is a topic with little prior research, ethnographic observations of three different drag queen reading programs were also completed to gain more knowledge of the public realm of a modality that challenges cisheteronormativity of gender expression. Over 86% of the [adult, caregiving] respondents enjoyed the program and would recommend it to a friend. A majority of respondents (72%) shared that their children enjoyed the programming, and a little more than half (65%) felt like it was age appropriate. The qualitative results suggest that storytimes may be more effective if they cater to a specific developmental range (such as for all ages, toddlers and infants, and school-aged children). The qualitative and ethnographic results highlighted themes such as increased knowledge around gender expression and gender identity and teaching families more about acceptance and difference.

A little further down in the text you will find the following passages (I have removed the references for the sake of readability):

Drag performances, when viewed and affirmed in the LGBTQIA+ community, create a place to express freely, form community, encourage social literacy, and support social activism. Drag culture in social media argues that performance drag normalizes and socializes what society labels as deviant behavior and creates affirming queer spaces. Within the last five years, social justice and social circulation in the drag community have extended to storytimes in libraries and in other settings…

[They] often aim to shift from a one-way performance about the drag queen to an invitation for children to explore individuality, receive positive messages on gender fluidity, deconstruct harmful gender norms and toxic masculinity, and appreciate difference with the freedom to express themselves however they want. Picture books are carefully curated and are often a mixture of books highlighting LGBTQIA+ representation and gender expansive themes, and participatory discussion is encouraged to help children and their families make sense of the experience and relate it to their own lives…

The intention of drag queen reading programs is to introduce diverse ways of being, families, ideas, and cultures through children’s books, and that they have the potential to deconstruct harmful gender norms while creating affirming spaces.

I will spare you the rest of this ‘study’, but I would like to point out the incredibly small database: 43 (!) questionnaires—filled out, mind you, by adult ‘caregivers’—represent the empirical (sic) basis, information that Aftenposten deliberately withholds. Also left unmentioned is the important detail that the statements about child development that ‘expert’ Svein Øverland—who works, it shall be remembered, as a police psychologist—gives so confidently do not come from children at–all, although this is also concealed by Strømdahl and Hole.

Instead, these two ask if it ‘is in any way harmful for children to watch drag queens?’

Øverland’s (self)revelatory answer:

No, I wouldn’t say that. Problem arise when parents clearly signal that they don’t like it while the school staff says it’s a good thing, because then the kids are under pressure to be loyal [to whom?]. Children look up to parents and teachers. Expressing very different attitudes can be stressful for the children.

Øverland therefore believes it is important that parents are well-informed about what their children should watch and why. And that they have the opportunity to contribute or be invited to the show themselves.

What is missing from these opinions is the notion: what about those parents who don’t like their children to be exposed to these ‘performances’? Would an ‘opt-out’ be an option, or would that be something that the ‘inclusivity fanatics’ don’t offer?

Epilogue

I’ve been living here in Norway for almost three years now, and the social pressure to conform is enormous. You can see this very well this June—the first ‘Pride’ month after Covid. Rainbow flags fly on many buildings, public and private, the topic is almost omnipresent, and it is massively supported by official bodies such as the Education Authority (school board) in Northern Norway.

At the same time, knowledge of the questionable ‘expertise’ or ‘da Science™’ is scarce, to say nothing about the original meaning of the rainbow—as a symbol of the renewal of the covenant between God and Noah's descendants (Gen. 9:8-17).

The culture war that North America has been caught up in for some time is now washing ashore in Europe with full force.

The front lines are drawn quite clearly:

Anyone who speaks out against such ‘offers’ for their own children must expect defamation and prejudice, mainly because despite the Orwellian-style invocation of ‘inclusiveness’, opting-out is often simply denied. The worst example of such endeavours is—the massive effort by individual actors, such as the Greens parliamentary chairwoman Maurer in Vienna.

Everyone should love each other, but anyone who disagrees is considered an outsider. Here, too, you can see how much the woke zealots—pharisees—have perverted the original calls, in particular the notion of loving one’s neighbour.

Added to this is the massive propaganda by legacy media, which makes it almost impossible to ask, let alone discuss, pertinent questions.

As a thought experiment to conclude this long essay, consider the following issues:

How would the woke juste milieu react if, for example, a Bible reading hour was to be convened in Parliament?

Why do drag queens prefer to perform in front of kindergarten and elementary school children, but seem to avoid, say, teenagers?

The possible answers to these questions clearly point to the interests behind these ‘performances’ and their willing executioners, which range from the normalisation of pedophilia (which has a long history in the Green Movement in particular) to the perversions of some ‘experts’ (do look up, say, John Money or Judith Butler), and the despicable depravity of virtually the entirety of legacy media (for a telling example from Austria, see, e.g., here).

It is to be feared that this culture war will not only gain momentum, but that it will get worse. Those who will suffer most are literally ‘the least among us’—our children.

As a father, I’m asking you to, please, get informed and start organising; not for your sake, but for the sake of our descendants.

We owe it to our children, and we’re running out of time.