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'No Way Back' Documentary About Harms of Gender Ideology Is Still Fighting Censorship
Because genderwoo is un-American
Silver screens and scalpels, some of California’s best-known exports. Scenarios and stars are created by cutting film and physical features, and now Hollywood is the shameful epicentre for slicing and editing children.
Shaking up the scene, a Californian film titled “No Way Back: The Reality of Gender Affirming Care” aims to expose the harms, project dissent, and cauterise those cultural wounds. A film so dangerous to certain political pathogens that it has been cancelled from screening in AMC theatres who caved to activist pressure, just days before the opening night.
One mother, a professional in the Hollywood movie industry, who was as supportive of the liberal arts and social movements (as any Californian would be expected to be), found her own child caught up in the growing corporate-driven cult of synthetic identities peddled through her child’s school’s “Gender and Sexualities Alliance”. Using the tools of her career and craft, fuelled by rage at what her home state is now promoting to her child and the world, she did what many mothers would only dream of doing: she produced a feature length movie blowing open the machinations of an organised and extremely powerful movement.
The anonymous mother, who cannot be named as she knows her employability in the film industry would be obliterated if she went public, told me of the fear of being cancelled like her industry compatriot Christian Henson, a composer and co-founder of Spitfire Audio, who tweeted out in support of the media greats J.K.Rowling and Graham Linehan, and had his career swiftly bludgeoned to death. The furious mother took on the name “Vera Lindner” and teamed up with executive producer and activist Joey Brite, and director L.E. Dawes to make a documentary primer to send to politicians and public figures to get them up to speed on what is being targeted at America’s young people. The film’s working title was “Affirmation Generation” referred to the “affirmation only” approach in care for children with issues around their “gender identities”.
California, the film makers’ home, has been declared a “sanctuary state” for “trans youth” promoting “gender affirming care” and condemning any attempts to criminalise those who give hormonal drugs to children through institution of California Senate Bills such as SB 107.
The film “No Way Back” opens in a montage crescendo of news coverage as an audio-visual metaphor for the wave that has been cresting and will soon crash over society, the dam of forced silence is cracking and this film positions itself as a primer direct sent direct to USA politicians inboxes, available soon to watch online, for anyone who was in the dark or who has questions about what has been going on.
The film is organised in chapters to take the viewer through thematic explorations of who and what is behind the explosion of “trans identifying” children, leaving the viewer not only up to speed on the current situation but also aware of the evidence that this social movement is anything other than organic.
Inorganic fakery is fundamental to the success of the Californian State - smoke, mirrors, makeup, special effects, and the Californication of the wider USA comes as no surprise in a culture commandeered by screentime. The fillers and facelifts are normalised for adults but the insidious and often-denied expansion of the cosmetic surgery industry towards child customers was almost inevitable in the capitalist-capture of young minds who are sold the idea that they can make digital personas and have potential to manifest and embody those constructed avatars in the physical realm through body modifications.
Within “No Way Back” the film makers interview journalists such as Jennifer Bilek who describes these novel “gender identities”, describing them in her terminology as “synthetic sex identities”. Meanwhile Dr. Lisa Littman, Physician and Scientist discusses her study into the phenomena of a peer- induced and sudden wish to change personal identity which she coined “Rapid Onset Gender Dysphoria” (R.O.G.D).
Victims of this targeted manipulation speak with their own voices in chapters with titles such as “Dysphoria” and “Adolescence” where so-called “detransitioners” discuss the motivations and their emotional states while identifying as “transgender”. Detailing the rejection of their own homosexuality and the incongruity between their sense of self and their bodies in filmed interviews where they describe the effects of social media and the impact of being introduced to transition via microblogging and image sharing sites such as Tumblr.
Harrowing testimonials are presented, like damning evidence presented to a courtroom, where the young people discuss their “mutilated” bodies and inability to breastfeed their children. Photos accompany the descriptions of the complications and impacts of the unnecessary cosmetic surgeries and prescribed hormonal drugs. The scars and pain behind the culture of nip & tuck that extended to casual removal of breasts and plastic surgery to create opposite-sex genital facsimiles.
The information comes thick and fast; interviews are interspersed with text quotations from academic studies, news articles and blogs. Scans of publications and graphs of numerical data detailing the explosion of “transgender youth” illustrates the comments from the scientists, pundits, and writers.
The documentary is a holistic thesis of the phenomenon of transgender youth with only a few omissions that may disappoint the hardened investigators into the players who groom the vulnerable into gender ideology, mainly the lack of discussion of the conspicuously fetishist, paedophilic, and depraved bad actors.
However, this is minor, and perhaps sensible, so as not to frighten or disgust people who may reach to turn off a presentation that subjects the viewer to things that many may wish to never think about. The film shocks, but not gratuitously; it is clearly driven by empathy for the people taken in by propaganda, coerced by institutions, and promised an impossible dream that led them to be harmed.
It is a whistle stop tour of key concepts and recent history that everyone needs to know to understand the contemporary debate. Satisfyingly fast paced without feeling rushed, it will satisfy people’s hunger for information without patronising.
Executive producer Joey Brite, and the anonymous producer, whom I interviewed first in 2022 during the finalisation of the film edit, told me of their motivations and their personal investments in the subject matter. Vera Lindner became inflamed and passionate about the topic as the ideology directly preyed upon her daughter. Brite is a well-known critic and vocal opponent of the gender industry, having seen the ideology consume women throughout her life, in particular lesbians like herself, the “butches”, who she tells me she saw being offered testosterone by salesmen on the street outside of lesbian clubs in Oakland in the late 1990s, an example of the decades long push to recruit users of the hormonal drugs.
The film makers echoed each other in wanting to try and right some of the wrongs that emerged from California, feeling a deep shame about the harmful exports from the Orange County and Hollywood Hills, with this being a resistance from within state lines.
Since talking to them, the film has been through revisions and an epic struggle to be screened. For a time, the film was showing for free online, and reuploaded and bootlegged around the net. When shown at a small event in a Californian library in March, a protestor stood beside the screen, penning multiple signs, one stating; “Facts over propaganda: trans is natural” and loudly grumbled and complained to distract the audience away from the presentation. Now, after finally securing official release and planned screenings across the USA, the film has had yet another battle and found itself cancelled by AMC Theatres which was due to screen the film in cinemas nationwide on June 21st, following a campaign by The Queer Trans Project, who celebrated their censorial conquest on Instagram, proclaiming, “We did it! Our community's swift action is a testament to the power of advocacy and the importance of raising our voices against harmful content.”
The “No Way Back” makers’ website boasts a quote from T.V. personality Megyn Kelly, “The movie is great!…It was done so wisely, smartly and in a way that’s extremely compelling. It’s well worth your time.” The high-profile praise and clear mainstream appetite for this alternative look at the hot topic of gender ideology still does not overcome the fear instilled in the cinema managers. The theatrical screenings have been cancelled; the evidence of harm is yet again suppressed.
The “No Way Back” website now proclaims “MORE IMPORTANT NOW THAN EVER! Theatrical dates have been CANCELLED due to Outrage™ from those who DON'T WANT YOU TO SEE IT! Coming to digital and DVD ASAP!”.
Straight to DVD may once have been a sign of a film’s failures to garner interest, but in today’s climate it is act of defiant strength — endeavouring to get supressed stories out there in the face of political pressure, to show the stories from Hollywood that were censored from the silver screens.
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