Kentanji Brown Jackson may not know what a woman is, but she knows what it is to go to bed one night as just an ordinary Supreme Court justice and to wake up the next day as a Broadway star. Yup, she’s hitting the Great White Way (or, maybe, in her case, the Great Black Way) to fulfill a childhood dream: taking a turn in a Broadway musical.
Interestingly, the particular musical she’s chosen, “& Juliet,” is a tawdry pro-transgender show. I think we can now guess how Jackson will vote on Tennessee’s “no ‘gender-affirming’ care on minors” law.
The Hill reported Jackson’s dream come true, including offering an anodyne description of this particular musical:
The 54-year-old justice will appear in a walk-on role in the Broadway musical comedy “& Juliet” on Saturday night, the production and a Supreme Court official confirmed Monday.
[snip]
“& Juliet” is a modern take on William Shakespeare’s “Romeo and Juliet,” in which the female protagonist “ditches her famous ending for a fresh beginning and a second change [sic] at life and love — her way,” according to a promotional site. The musical features ’90s and early aughts pop songs from the likes of Britney Spears, the Backstreet Boys and Kelly Clarkson.
An updated take on Romeo and Juliet sounds fairly innocent, but don’t be fooled. This is yet another Broadway show that is really an homage to deviant sexuality, particularly so-called transgenderism.
Here’s my trimmed-down version of Wikipedia’s minute plot description:
This time, Juliet doesn’t die. Romeo was bisexual. Juliet’s best friend is “non-binary,” Juliet’s new love (a man) chooses the it person over her.
And if you’re wondering about the whole so-called transgenderism thing, in every product, the it person is always played by a man.
That’s the play to which Justice Jackson has committed herself. It’s a sleazy play, making it unseemly on its face for a Supreme Court justice to appear in it. However, what makes the whole thing worse—and is obviously a pointed message—is that just last week, the Supreme Court heard oral argument in United States v. Skrmetti.
That’s the case that saw the Biden administration challenge a Tennessee law saying that doctors will lose their licenses if they give children chemicals (including hormones) or any type of surgery in the name of so-called “gender-affirming care.” Jackson distinguished herself in the most idiotic way possible by trying to compare a law prohibiting mutilating children’s bodies to a law preventing black and white adults from marrying each other.
The Code of Conduct for United States Judges, which does not apply to Supreme Court judges, is nevertheless appropriate to quote here:
Canon 4: A Judge May Engage in Extrajudicial Activities that are Consistent with the Obligations of Judicial Office
[snip]
However, a judge should not participate in extrajudicial activities that detract from the dignity of the judge’s office, interfere with the performance of the judge’s official duties, [or] reflect adversely on the judge’s impartiality...
Everything about Justice Jackson’s Broadway foray violates those principles. The debased plot “detract[s] from the dignity of the judge’s office,” while the fact that the musical is, in significant part, a celebration of so-called transgenderism, “reflect[s] adversely on the judge’s impartiality.”
In a free society, the people’s respect for the judiciary is what makes them willing to accept the decisions it announces...and this is especially true of the Supreme Court, which often deals in abstract principles that globally shape American society. A justice’s debased behavior debases the institution as a whole, and Justice Jackson will have crossed the line when she walks across the stage.
