https://pjmedia.com/news-and-politics/benbartee/2022/11/16/femininity-as-performance-art-the-social-justice-womanface-moral-dilemma-n1646374

An apparently deeply psychologically unstable man named Dylan Mulvaney has gotten ultra-internet famous dressing up in “womanface” (performative womanhood) and playing the role of a cartoonishly ditzy ’50s-era damsel in distress.

He explicitly brands himself not as a “woman” but as a “girl,” adding a strange pedophilic element to his performance.

Dylan recently sat down with David Lopez, a self-described “gender-fluid hottie” for a podcast called “The Beauty Of… Girlhood.” These are two grown men (one of whom has a beard) discussing their experiences as girls. The whole vibe is so viscerally unnerving that it’s impossible to believe the cringe isn’t intentional.

“While I never felt I was born in the wrong body, I always related with and understood femininity in a way that felt like something I could wear more comfortably than masculinity,” David explains (emphasis mine).

(Mulvaney was literally a failing actor before capitalizing on his gender transition.)

The obvious theatrical element at play here has led many to speculate that — just like the Canadian teacher conducting class in elephant-sized prosthetic breasts — Dylan may be trolling. Because earnest transgenders are often so absurd themselves, it’s impossible to separate the satirical from the sincere.

If it is all a satirical endeavor, then it’s obviously a job well done. The only issue here is the glaring double standard that the left employs when it comes to cosplaying various identities.

Related: Makeup Giant Ulta Goes Woke Highlighting ‘Trans Girl’ Dylan Mulvaney, Customer Base of Real Women Revolts

For some inexplicable reason, (poorly) imitating femininity is totally kosher, yet tinkering with transracialism is some major faux pas worthy of condemnation.

A pure-bred white woman, Rachel Dolezal, also an NAACP chapter president, did essentially the same thing as Dylan — namely, modifying her outer appearance to achieve a social identity transformation — but with a considerably different reception from the left.

She spray-tanned herself into oblivion, got a perm, and started a whole new life as an empowered black woman.

The basic criticism of Dolezal is that she committed appropriation of her adopted culture (African-American) with only a surface-level understanding of, or appreciation for, the sociocultural milieu from which it came — all for personal gain and self-aggrandization.

She adopted all the fun, hip stuff of the identity and ignored the painful marginalization that fostered and enriched that identity through struggle and perseverance.

So… what’s the essential difference between Mulvaney and Dolezal? You’d have to ask a women’s and gender studies scholar to get the convoluted answer. Before you do, just remember that asking questions is what white supremacist transphobe domestic terrorists do.

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