March 28, 2023

‘I Am (Confused) Jazz’

When a boy has been assigned a female identity by the adults in his life, chaos and confusion inevitably follow.

A popular TLC show called “I Am Jazz” has documented the life of Jazz Jennings since 2015. The focus of this “reality” series has been to follow Jennings through the daily living of being a “transgender” child, teen, and now young adult.

Jazz was born a boy and given the name Jaron. At the age of two, he told his mother about a dream he’d had in which he was a girl — and this is what initiated the idea that Jaron was really a girl living in a boy’s body. By the age of five, Jaron had been completely socially transitioned. His name was changed to Jazz, he grew out his hair, and his wardrobe was modified to show no signs of his biological identity.

Since then, Jazz has coauthored a children’s book called I Am Jazz and a memoir titled Being Jazz: My Life as a (Transgender) Teen. He has also done voice work for animated trans characters, and he has been part of a documentary and a short film, both aligning with the message of normalizing the “transgender identity.”

This young person’s life has been on display since before he was potty-trained, and for years he has been used to endorse the core belief of woke human identity: that gender and biological sex are not the same thing, that your gender can be whatever you want it to be, and that all of the norms we’ve come to correlate with the biology of male and female are only in place due to social constructs. The idea is that human beings have no inherent tendencies, that children can be molded into whatever suits their inner feelings the ideology of the parents, and that they will connect with whatever identity they’re raised with, regardless of biological makeup.

However, viral clips from the most recent episodes of the TLC show “I Am Jazz” have exposed a thread worth pulling. One clip shows an emotional moment between Jazz and Jeanette in which Jazz admits that he never feels like himself, that he cannot get out of his own head, and that he’s spiraling into negativity. And this thread could lead to the unraveling of a 20-year mistake.

Yet as Jazz is trying to open up about his confusion, Jeanette’s immediate response is to advise Jazz to stop focusing on it, and she readily agrees with his worry that he’s just bringing this on himself. “You are your own worst enemy,” she tells him.

There is a case to be made, however, that Jazz’s worst enemy is not himself but rather the people who have assigned him a feminine identity and told him that he would never experience any of the natural tendencies that come with being a biological male. There is, after all, a lot at stake for the show’s producers, the activist doctors, and, most disastrously, Jeanette if Jazz’s inner turmoil were to crush the narrative they’ve all been pushing — and profiting from — for almost two decades. It’s Jazz’s own mother who would face the greatest criticism if this were all to implode, and therefore she may be his worst enemy, as she will work the hardest to keep her child immersed in this life.

Jeanette continues to demonstrate a total lack of self-awareness as she tries to comfort Jazz by saying, “I understand what you’re going through.” Wrong. It is virtually impossible for her to even begin to relate to the struggles Jazz is facing. Like the vast majority of parents who are trans-ing their young children, Jeanette has had the opportunity to develop naturally, both mentally and physically. She was able to grow into adulthood without having any of her healthy body parts removed. She has never had to inject herself with unnatural levels of hormones that contradict her entire system, all to try and trick her body into being something it’s not, and then deal with the stunted growth of her bones and reproductive organs as a side effect.

In the final installment of these viral segments, Jeanette is seen having a casual conversation with her friends about the dilator that Jazz must use after having a penile inversion vaginoplasty at age 17. She expresses aggravation at the inconvenience it is to her to have to remind her surgically mutilated son to use this device, which is required to prevent the hole from closing — and thus requiring another procedure to reopen it.

In a disturbing revelation, Jeanette broadcasts the intrusiveness of this task by openly admitting: “I have woken Jazz out of a dead sleep, taken the dilator, and put the lubrication on it, and said, ‘Here! You take this and you put it in your vagina. If not, I will!’”

Throughout each season, there are endless doctors’ visits, where the physicians and surgeons explain the “unexpected” complications from these procedures, conceding that they have minimal frame of reference for the surgeries they’re performing on Jazz, as it’s all relatively new territory.

Of all the questions we should be asking ourselves as activist teachers, doctors, and parents impose gender ideology on their young children, one of the most important ones is this: Can children meaningfully consent to this kind of life?

All in all, the struggle we’re seeing in Jazz now is what the woke parents of 2023, who dress their boys up as girls or sign up their teenage daughters for hormones and double mastectomies, can expect in the future for their own gender-confused children: A life of disorientation and detachment, and an adulthood spent coping with unnecessary trauma and pain because of the ideas and procedures foisted upon them before they could truly decide.

Jazz is showing us that what the trans movement insists is not real actually is — and that’s the intrinsic nature that comes with our biological sex, including the fact that a stable and healthy identity cannot thrive when our minds and bodies are disconnected from each other.

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