LA Dodgers choose anti-Catholic drag queens over sanity
What do Major League Baseball and drag queens who dress as nuns have in common?
It is a question that is yet to be answered.
Even so, the two have been on a collision course this week as the Los Angeles Dodgers first invited, then disinvited, then re-invited the ‘Sisters of Perpetual Indulgence’ — a “leading-edge Order of queer and trans nuns” — to their Pride Night festivities scheduled for next month.
The Sisters of Perpetual Indulgence promote themselves as a society devoted to “community service, ministry and outreach to those on the edges, and to promoting human rights, respect for diversity and spiritual enlightenment”. But with a motto like “Go forth and sin some more”, their sacrilegious use of ecclesiastical dress, and deliberately offensive stunts like crucifix pole dancing and “hunky Jesus” contests, their goal appears to be mockery, not “ministry”.
In early May, the LA Dodgers had announced they would be honouring the Sisters of Perpetual Indulgence with a Community Hero Award at the team’s 10th annual LGBTQ+ Pride Night for the “life-saving work that they have done tirelessly for decades”.
People of sound mind, Catholics chief among them, voiced strong opposition to the Dodgers’ promotion of the Christophobic group.
In response, in a show of sanity rarely seen in these sex-obsessed days, the LA Dodgers reversed course, announcing their decision not to honour the anti-Catholic group at next month’s event.
“This year, as part of a full night of programming, we invited a number of groups to join us,” the team said in a statement. “We are now aware that our inclusion of one group in particular — The Sisters of Perpetual Indulgence — in this year’s Pride Night has been the source of some controversy.”
But the burst of common sense was not to prevail. By Monday night, the pro-drag queen lobby (yup, that is a thing) exerted so much pressure that the Dodgers re-invited the Sisters of Perpetual Indulgence, complete with the obligatory struggle-session confession.
In their statement released on Twitter, the Dodgers wrote, “After much thoughtful feedback from our diverse communities, honest conversations within the Los Angeles Dodgers organization and generous discussions with the Sisters of Perpetual Indulgence, the Los Angeles Dodgers would like to offer our sincerest apologies to the Sisters of Perpetual Indulgence, members of the LGBTQ+ community and their friends and families.”
“In the weeks ahead, we will continue to work with our LGBTQ+ partners to better educate ourselves, find ways to strengthen the ties that bind, and use our platform to support all our fans who make up the diversity of the Dodgers Family,” the mea culpa concluded.
— Los Angeles Dodgers (@Dodgers) May 22, 2023
The team’s flip-flopping reveals the deep divide at the heart of America’s culture wars. Moreover, their final decision indicates which side has the upper hand.
The Dodgers saga is a reminder that when religion vacates the public square, it is not secularism or neutrality that takes its place, but irreligion, even sacrilege.
Nun costumes aside, the bizarre centering of drag queens in the culture wars is itself an irreligious act. It is an attempt to abolish and mock the natural and divinely-instituted sex binary.
But it is a tiresome and a tired mockery, a sad excuse for “art” and “freedom” in a culture that has lost its way. It is the death throes of what philosopher Philip Rieff dubbed an “anti-culture” hellbent on its own destruction and the defaming of all that is good and beautiful and true.
These observations are no black pill. On the contrary, they are the light at the end of a long, dark tunnel.
In practical terms, if enough LA Dodgers fans respond the way Bud Light and Target customers did to those companies’ trans madness, there will yet be hope for our culture.
Kurt Mahlburg is a writer and author, and an emerging Australian voice on culture and the Christian faith. He has a passion for both the philosophical and the personal, drawing on his background as a graduate… More by Kurt Mahlburg.
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