The bloody, public assassination of Charlie Kirk did not give the illiberal Left cause to rethink their rhetoric. Indeed, they’ve not just doubled on its use, but are coming up with even more creative ways to use it in order to shut down disagreement and incentivize more violence.

And as we witness yet more Trans-motivated violence (and Leftwing judges who refuse to hold perps accountable), there continues to be the media narrative that anything less than a fully Socialist government is little more than 1933 Germany where the first to the camps will be the very most essential beings in society … The Queers.

This isn’t just plain old fascism, but anti-queer fascism.

… queer folk have received the message that any expression of Pride can attract the stomp. Unsanctioned speech today lives at risk of being dust-binned through powerplays. Despite any overtures about meritocracy, proponents of the white culture war stand at odds with the untamed diversity of excellence, which diminishes humdrum white achievement by making normie mediocrity feel second-rate or, even worse, “uncomfortable,” to reference Florida’s Stop WOKE Act.

The fun-times canvas of our culture is being reconceived through queer erasure. Shedding allies, the LGBTQ+ coalition teeters on the tail of this recent Quiet Pride, with public institutions that have been loudly supportive in the recent past intimidated into whispers, or all-out silence. This tectonic shift signals not a new betrayal of queer folk but a reinforcement of the fundamental relationship between Western society and non-hetero life — a hot/cold union of creative thrill-seeking and fair-weather fascination that can best be captured by a single image from Bob Fosse’s 1972 musical film “Cabaret.”

Oh yes, dear friends. When you scrape away the thick globs of dressing from that word salad, you not see some naked anti-white racism and sneering condescension towards normies (including regular folk who happen to be gay)

after 60 or so years of LGBTQ+ activism in the United States, straight-presenting white gay citizens who marry have gotten a taste of middle-class assimilation. But is our little fiesta headed towards another terminus?

… and it is all going to be framed through the lens of the movie Cabaret.

I could make a joke about the stereotype of gay men and the American musical here, but author Bobby Fieseler tortures the Bob Fosse 1972 film to such a degree in trying to make his point that 2025 America is just like 1931 Berlin that I can’t tell if he is a fan or not. Bobby spends so much time making the case that all real artistic achievement is created by Queer folk one might feel he harbors a least a little resentment that Fosse, Minnelli, Grey, and York were/are so boringly straight Bobby is prepared rewrite the film and ignore the source material to such an extent it mirrors the over-wrought academic papers so easily exposed in the Grievance Studies Affair.

The omnipresent Emcee, a queer Jack Be Nimble, can’t be dragged to the camps because he is a thematic stage presence, more a spirit than a depicted personage with a before/during/after narrative governed by reality. He therefore gets away with everything. (snip)

Fosse suggests, through the Emcee, that though the West’s relationship to queerness may bear the pattern of a sine wave, the Grande Human Cabaret can never metaphorically or spiritually close. A mirror, even a warped mirror in a Berlin club, doesn’t lie when it reveals a queer face as a human one.

Queerness is an indelible feature of our species, Fosse indicates through his visual device. We’ve existed in one refraction or another in every civilization that has left a written record.

Oh, dear. Fieseler projects on Fosse an anti-Fascist core intent which really isn’t there.

Fieseler asserts, first, that “queer” is being erased and, second, it is a top-down affair orchestrated by the Trump administration. There is not one bit of self-awareness that maybe, just maybe, the libertine-lets-shock-the-normies queerness ignored or tolerated by normies became less so when TQ+ Supremacy broke out of the cabaret and forced itself into children’s classrooms, girls’ locker rooms, and started assassinating people who disagreed.

The question was always framed as what’s so bad about kids being exposed to Trans, instead of why does Trans demand access to kids?

Fascism is a specific political movement, and it is as anti-individual as its international sibling, Communism. Taking “fascism” as political silly-putty to mold into any shape resembling mere disagreement is what fueled the murder of Charlie Kirk. Fieseler’s coinage of “anti-queer fascism” is tacit approval of Trans-inspired violence due to the claim advanced of “queer erasure”.

Let’s recall that the final scene in Cabaret is a distorted view of the audience at the Kit Kat Club …

… where the front rows are filled with people in NSDAP uniforms. It appears this is where Bobby Fieseler is sitting these days.

featured image, cropped, Adobe Stock standard license