She has openly stated on more than one occasion that sexual perversion is normal and healthy. Hence she has no problem promoting it on American TV. After all, if sexual perversion is “good clean fun”, why not spread the happiness around and help nice American families savor the joys of incest, bestiality and other assorted paraphilias?

In a riveting article for the Occidental Observer, Brenton Sanderson explains that Kohan echoes the Freudian argument that “a disposition to perversions is an original and universal disposition of the human sexual instinct.”

Translated into the simplest English: we’re all pervs. Au fond: at bottom, when you strip away all the frills and get down to the nitty-gritty. As for chastity, female modesty, sexual decency, these are all later accretions or artificial developments that violate our essential natures or primitive instincts. A million years ago—when Stone Age humans were grappling with saber-toothed tigers and committing arson by rubbing dry sticks together, and life, according to Thomas Hobbes, was “nasty, brutish and short”—in those long ago times, rape and murder, bestiality and incest, were thrilling everyday events. Ever since then alas, it’s been steadily downhill all the way, until now we have—horror of horrors!—Western civilization.

Thus, in a nutshell, the philosophy of Freud and his kinky commissars.

In her scripts for American TV, Kohan has no inhibitions about dishing up generous portions of sexual perversion. Incest, for example, is openly (though subtly) promoted by the use of humor. In one episode of her show Weeds, the main character Nancy is shown tearing up nude photos of herself and flushing them down the toilet. This is because she has caught her son Shane masturbating over them. In a prurient 3-minute scene, Nancy is shown lecturing her son on the inadvisability of masturbating over her.

“It’s a little quirky to masturbate over pictures of your mother,” she chides him gently, her voice oozing with sanctimonious concern for his moral welfare. She suggests that it is “possibly” wrong that he should masturbate over his mother’s image, throwing in a trendy reference to the omniscient Freud.

Yes, Papa Sigmund would have understood and offered absolution for her son’s incestuous feelings that are (allegedly) universal. All part of the growing up process, you understand.

Nancy advises her son to continue masturbating by all means but to seek out a more appropriate object for his sexual ardor. Like the girl next door. Or a Playboy model. “It’s nothing terrible or unnatural! Sex is good, Freud said. Or Annie Sprinkle maybe” (re Sprinkle, see my “Sex and the Jews“). But hey, jerking off over his mom, that’s a bit “quirky”, isn’t it? Mothers, after all, are “possibly” unsuitable objects for filial passion. This all too obvious tongue-in-cheek prurience tries to pass itself off as cutting-edge sociological comment. If you object, you are obviously a Victorian prude.

Hey, lighten up man!—where’s your goddamn sense of humor?

Right. So this is the point we’ve reached. Sons being given pep talks on incestuous masturbation by their mothers is now, on American TV at any rate, a normal, everyday episode in a healthy mother-son relationship. This is something that would have been inconceivable to our Christian ancestors only fifty years ago; and it is still inconceivable in many parts of the world where moral standards have managed to survive and sexual decency is still valued. The scene is played for laughs, and the actress playing Nancy sounds pretty much like Jewish comedienne Sarah Silverman trying her best to keep a straight face as she does a comic skit involving “sexual abuse” of her pet dog, apparently licking her dog’s anus—much to the horror of some passer-by who witnesses the “hilarious scene” and reports it to the cops.

We are clearly expected to view the mother-son incest scene in Kohan’s Weeds in a similarly tolerant, laid-back light. This is meant to be seen as as a touchingly amusing vignette of family life in the early 21st century: an example of quirky, cutting-edge “Jewish humor” at its ribald, irreverent, life-enhancing best.

You don’t have to be a genius to know what is going on here. Sexual perversion is being normalized. And humor is being used as a corrupting agent to make it all seem palatable, trendy and cool. You are made to feel guilty if you don’t find incest funny. And if do find it funny and give way to mirth, you have taken the first step down the slippery slope into degeneracy by trivializing sexual deviance and minimizing its moral turpitude.

In case you don’t believe me, here is the 3-minute Weeds video:

Maybe you found that little scene amusing? Maybe you’re wondering why I’m kicking up such a fuss about what tens of thousands of Americans are likely to find perfectly innocuous.

If so, you are part of the problem. You are not using your imagination. Ask yourself: is this sort of thing fit for family viewing? Imagine a nice American family—father, mother, son, daughter—watching this incest scene after dinner. How do you think the teenage son is going to feel about his mother? I’m willing to bet the entire family will be squirming with embarrassment in their seats, doing their best to hide their blushes.

Two things I can tell you for sure. Firstly, if that family are not acutely embarrassed, they’re abnormal. They’ve already lost the plot. Secondly, if they continue to watch this disgusting filth and chuckle over it like morons, pretending it’s hilarious and groovy. they are past redemption. Hopeless cases. They might as well hang themselves.

As for the guys who run American TV and manufacture this moral halitosis for the masses, they already are dead. They are the Walking Dead. How these people ever got into the topmost echelons of the entertainment industry is a mystery to me.

I guess the devil rules the world and looks after his own.

— § —

In the estimation of the Jewish Journal, Kohan is a “provocative, controversial” writer who has the guts to tackle dark themes and paddle bravely in foul waters. “No topic is too grim,” the Jewish Journal notes matter-of-factly, “no character too depraved.”

Time magazine is equally complimentary, calling Kohan a “force of nature” and lauding her for her genius in being able to depict shady characters who are “a breathtaking riot of color and [diverse] sexual orientation … characters of all backgrounds who are three-dimensional, flawed and sometimes unpleasant, but always human.” The fact that these breathtakingly colorful characters are also twisted and perverted, infecting the minds of millions with the virus of their depraved values, does not appear to trouble the Time magazine reviewer. He is probably a fellow club member, supping at the same table of tainted meats.

Kohan’s malign influence on American TV can hardly be exaggerated. She is all over the place. She has written numerous TV dramas and comedies, including Sex and the City, Gilmore Girls, Mad About You, and The Fresh Prince of Bel-Air. Every show mentioned above is a product of the Jewish imagination: Jewish writers, Jewish directors, Jewish producers, Jewish actors. For example, Sex and the City was created by Jewish writer, director and producer Darren Star; Gilmore Girls by Jewish writer, director and producer Andy Sherman; Mad About You by Jewish writer and actor Paul Reiser and Jewish writer and producer Danny Jacobson; and, finally, The Fresh Prince of Bel-Air by Jewish writer and actor Andy Borowitz and his wife Susan Borowitz. (See here.)

If this isn’t Jewish over-representation, what is it? Non-Jewish America is having Jewish values thrust down its collective throat, willy-nilly. It is being permeated, whether it likes it or not, by jüdischer Geist (the “Jewish spirit”).

Not all the shows mentioned above are as subversively kinky as the shows in which Jenji Kohan is personally involved, such as Weeds and Orange is the New Black. It is to be noted, however, that Kohan’s eldest brother David—whom she considers, incidentally, as rather “tame” compared to herself (see below)—has been the single most important influence in America for the promotion of homosexuality on TV. David Kohan was the co-creator and producer of the hugely influential gay-themed sitcom Will & Grace. It was none other than Vice President Joe Biden who in 2013 openly acknowledged David Kohan’s seminal influence in casting a veil of glamor over homosexuality:

It wasn’t anything we legislatively did,” Biden said. “It was Will & Grace. Literally. That’s what changed peoples’ attitudes. I bet you 85 percent of those changes are a consequence of Jewish leaders in the industry. The influence is immense, the influence is immense.

Commenting on the point made by Biden, liberal Jewish columnist Jonathan Chait alludes mysteriously to a “vast left-wing conspiracy on your screen,” without bothering to clarify what ethnic group is in the forefront of activating and promoting this “vast left-wing conspiracy.” Agreeing with Biden that Will & Grace was “the single most important driving force in transforming public opinion on the subject [of homosexual relationships]”, Chait adds significantly, driving home the point I am trying to make here:

“Think of it from the conservative point of view. Imagine that large chunks of your entertainment mocked your values and even transformed once-uncontroversial beliefs of yours into a kind of bigotry that might be greeted with revulsion. You’d probably be angry, too.”

Yes, so don’t blame me if I’m angry. Anger is the only possible reaction to this outrageous onslaught on the traditional values of my Christian ancestors, the values I cherish. For the concerted Jewish attempt to normalize homosexuality, turning what was once widely seen as a mental sickness into a trendy alternative lifestyle, see this excellent article by Brenton Sanderson: “The Indoctrination Game, Part 2: Jewish media influence as decisive in creating a positive culture of homosexuality.”

The ubiquity of Jews in the entertainment industry, as well as their “debauching” influence on the American psyche, has been freely admitted even by Jewish writers. Thus Adam Garfinkle, Jewish author and founding editor of The American Interest, points out in his 1990 book Jewcentricity:

“It is striking, one has to admit, that the cultural influence of Jews and Jewishness is what it is, considering that fewer than 5 million American Jews are influencing more than 296 million other Americans.” Noting the “increasingly salacious content of mass media”, he adds significantly,“There are Jews at every turn, in marketing, in media, and, of course, in the entertainment business itself. It does not take a rocket scientist to connect the dots: liberals are responsible for the dangerous debauching of our society, not least through vapid entertainment-culture garbage, and a disproportionate number of liberals who are doing precisely that are Jews. (Emphasis added, quoted here)

It seems nonsensical to assert, in the context of this candid admission by a prominent American Jew that Jews are largely to blame for the corruption of America, that what America needs right now is a greater infusion of “Jewish values”—whatever that’s supposed to mean. And yet this is precisely what Rabbi Shmuley Boteach preaches: that what non-Jewish Americans badly need right now is to be “healed” by the adoption of “Jewish values.”

The rabbi, renowned for his bestselling sex books with flashy titles like The Jewish Guide to Adultery and Kosher Lust: Love Is Not the Answer is precisely the type of rabbi whom Jenji Kohan would enthusiastically endorse. But how their shared “Jewish values” would benefit the rest of non-Jewish America is not altogether clear.

“Lust is the pinnacle of holiness,” Rabbi Shmuley pontificates absurdly in one of his popular sex manuals. “If you put love and lust together, love stands no chance.”

SEX-MAD RABBI SHMULEY BOTEACH

“Lust is the pinnacle of holiness.”

I am not aware that even the Talmud says that lust is the pinnacle of holiness. The Old Testament certainly does not. This “philosophy of lust”, if we can call it that, so familiar to readers of the Marquis de Sade, is Kohan’s philosophy too and informs all her thought. Lust runs rampant through her scripts, rearing its head everywhere—even in Christian churches where nuns achieve “the pinnacle of holiness” through fellatio.

In Kohan’s bizarro fantasy world, almost every female in American female prisons—as in Orange is the New Black—is involved in steamy lesbian affairs with other female inmates. Characters take bets to see which of them can seduce the largest number of non-lesbian inmates. Let the camera enter a Christian church, as in Californication, and pan to a nun in her modest clerical robes. In no time at all, this demure devotee of Jesus Christ is shown going down on her knees—not to pray as you might expect—but to dispense oral sex to a stranger who has just dropped into the church to seek help for his sex problems.

The good sister advises him that what he needs is a blowjob. That will cheer him up a bit.

The whole scene is apparently a “fantasy”—which is supposed to make it more acceptable, because it’s not really happening except in the writer’s mind. But why do Jewish writers insist on locating their sexual fantasies—or the sexual fantasies of their characters—in Christian churches rather than in synagogues? I am asking, basically: if you are a Jewish writer, why pick on a Catholic church for a blowjob scene? Why not locate your fantasy in a synagogue? Are we expected to believe that blowjob scenes never take place in synagogues, only in wicked Catholic churches?

This 3-minute video, “A Blowjob in Church”, will show you what is being done to Christian America and its culture by sexually perverted Jewish writers whose fame is out of all proportions to their talents.

Ask yourself: how many sons masturbate over their mother’s nude photos? How many nuns fellate men in Catholic churches? The fact that these images are allowed to fester like poisonous weeds in the rich soil of the mass mind must give us cause for concern. This is mind pollution on a staggering scale.

Here is the illiterate YouTube introduction to this nasty little scene set in a Catholic church: “Church is a holy place for christians (sic) when they confess of sin (sic) not commit sin but in this video you see how the christian actor and actress is (sic) making fun of their own religion. So first look at your own self then blame others ok.”

Beautiful. Talk about sly and sneaky disinformation! The fact that the actor playing the “sinful” Christian in the scene is in fact a Jew, a debauched looking specimen called David Duchovny (pictured here), is conveniently concealed—apart from the fact that the entire series is a product of the sleazy Jewish imagination: Jewish directors, Jewish producers, Jewish actors, Jewish scriptwriters.

— § —

“I want fucking all the time,” Kohan gushes in an interview. “That’s one of my things. We’re all doing it. We’re all thinking about it. We don’t see it enough. It’s hot. I love the sex stuff, and I want more. I love graphic sex, the more sex the better.” (For more details, see here)

Brenton Sanderson notes:

‘Orange is the New Black’ is an incredibly degenerate show that inverts traditional Western morality and glamorizes homosexuality. The main themes of the show are that committed heterosexual relationships are abnormal and that Christianity is an evil creed….Every woman in the prison, with the exception of the Christian villain, is in a lesbian relationship with one of their fellow inmates — even a nun. Hollywood’s Jewish movers and shakers love to debase Christianity and Catholicism by depicting nuns in sexual roles…. This pornographic debasement of Christian symbols by Jews is a blatant way of defiling Christian culture. (Emphasis added)

Jewish pornographer Al Goldstein, deceased publisher of Screw magazine, uses almost identical words — see here — so Brenton Sanderson is not saying anything outrageously controversial. He is merely stating the facts. According to one source, Kohan has succeeded in normalizing sexual perversion.

For my part, I find all this kinky sex incomprehensible, given that Kohan claims to be a devout follower of Judaism.

We are told that she had toyed with the idea of becoming a rabbi at one time and now attends two separate synagogues, as I have already noted above. Every Friday Kohan and her extended family have Shabbat dinner together. Her elder brother David, co-creator and producer of the gay-themed NBC sitcom Will & Grace, often attends these semi-religious meals at her house. Kohan dismisses his brand of homosexual humor as too tame for her, explaining, “I was always a little darker.”

She says her pornographic scripts help her to get in touch with her Jewish identity. “For me, the essence of my Judaism is to ask questions. In a way, the show allows me to follow the path of Judaism.”