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Once A Hero To Pre-Teen Girls, Judy Blume Partners With Anti-Woman Activists To Sell Movie Tickets

Judy Blume gets swept up in the transgender contagion, defiling her iconic work adored by girls who needed direction as their bodies changed.

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“We must, we must, we must increase our bust!” 

This chant originated from Judy Blume’s novel Are You There God? It’s Me, Margaret and has cemented itself as part of the exclusive experience of female puberty.

The same celebratory chant and the idea behind it are now being co-opted by males seeking out breast augmentations in order to make their self-perceived female identity a physical reality.

Many prepubescent girls dread the day their breasts develop. That feeling was once a common rite of passage but has more recently been swept up in the transgender movement by girls seeking to suppress their blossoming bosoms via masculinizing hormones to stifle their estrogen production before puberty occurs. Others are too late to stop puberty and decide to get their breasts cut off through top surgery, procedurally referred to as a double mastectomy.

For more than 50 years, Blume’s 1970 novel has been devoured by young girls needing some relatable direction as their bodies changed. The story is narrated by Margaret, an 11-year-old, who must navigate the adversity of adolescence after moving to a suburban New Jersey school from New York. The self-conscious sixth grader befriends her neighbor, Nancy, and the two form a secret club — the Preteen Sensations — with new friends Gretchen and Janie to explore their newfound maturation. 

Surprisingly, the new film adaptation of Blume’s contribution to pre-teen culture was not guaranteed the same acclaim as the book. The movie underperformed at the box office with a $6.8 million opening. Only 6 percent of ticket-buyers were teenage girls.

After building her career embracing womanhood and the biology that accompanies it, Judy Blume recently rejected that reality by backing the transgender movement.

@dylanmulvaney Chatting with one of my heroes, Judy Blume!! Get tickets and take your mom, grandma, or the mother figure in your life to see Are You There God? #ItsMeMargaret this Mother’s Day weekend. It’s the iconic story we all love finally on the big screen! #lionsgatepartner ♬ original sound – Dylan Mulvaney

Trans influencer Dylan Mulvaney posted a five-minute TikTok video interview on Saturday with Blume. Rather than employing an actual young girl for the paid promotion, the adept author chose a man masquerading as a young girl to appeal to potential theatergoers.

The politicized advertisement follows an April 16 Twitter post by Blume, declaring her affirmation of transgenderism. Blume blatantly states her “support [for] the trans community,” claiming that she “stand[s] with the trans community and vehemently disagree[s] with anyone who does not fully support equality and acceptance for LGBTQIA+ people.”

Responsible for a film about traditional girlhood released in an era of gender confusion, Blume knew she had to align herself with dysphoric deviants to allure today’s ideological youth. Margaret’s story may not resonate with modern teenage girls, but Mulvaney’s might.

Mulvaney’s claim to fame is a video series called “Days of Girlhood,” in which the male influencer provides regular updates regarding the authentic female experience.

On Day 1, the song “I Am Woman” plays in the background as Mulvaney, after reapplying bright red lip gloss, informs the viewer that he has cried three times, wrote a scathing email that he did not send, ordered dresses online that he could not afford, and said he was “…feeling fine when [he] wasn’t feeling fine.”

Gaining favor with today’s teenage girls is not as simple as making a mockery of the exclusive female experience. They seek escapism from the inescapable changes that come with becoming a woman. 

Transgenderism is a social contagion among teenage girls who no longer embrace the chant that they must increase their bust. In past decades, other dangerous afflictions like anorexia served the same emotional purpose as adopting a transgender identity. Uncomfortable with their changing bodies, teenage girls seek to distance themselves from their womanhood. They outright reject it, fearful of both growing up and unwanted attention.

This was harmless when wearing different clothes or choosing a new hairstyle was the only way Christine became Chris. Nowadays, the medical industry profits from the emotional vulnerability of teenage girls, marketing irreversible transgender operations and wrong-sex hormones while lobbying the government to eliminate the need for parental consent

Blume’s book was released at a time when a girl’s transition to womanhood was culturally celebrated. The author’s trans-influencer partnership to promote the film adaptation of a story once unique to the female experience displays the decadence of American society. 


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