Theater kids who live up to (or play down to) the emo “theater kid” stereotypes are not admirable people. This is not about whether they’re creative or not. Instead, it’s about their narcissism, crazy emotionalism, and the fact that everything is a performance, including faking many of those same emotions to advance their careers. They may be entertaining when kept in their proper place (the theater), but outside of the theater, too many (not all) are often weird, dysfunctional people who damage everyone around them. (Don’t take my word for it. Look at Hollywood people from the earliest days of the 20th century to the present.)
This same narcissistic, performative emotionalism is the guiding rule in the Democrat party—with the chosen vehicle being a never-ending clown show. That’s certainly what Ketanji Brown Jackson openly revealed in her Trump v. CASA, Inc. dissent (which so roused Amy Coney Barrett’s ire), and it’s pretty much what’s going on across the Democrat party.
Many people have been commenting on a striking aspect of Jackson’s dissent, and it is indeed striking:
KBJ’s dissent actually includes the phrase…wait for it… pic.twitter.com/AGMu2KQULB
— Not the Bee (@Not_the_Bee) June 28, 2025
However, what should concern us more than her using phrasing that’s great for social media and opinion pieces (I’ve used it myself), not weighty matters affecting every aspect of American governance, is the hysterical tone of her writing.
According to Jackson, saying that district court judges must return to the rule and pattern of the first 225 years of their existence (that is, confining their rulings to the parties before them) is “an existential threat to the rule of law.” The President, she says, is basically seeking permission to “engage in unlawful behavior.” The English courts of equity that the Founders said were the model for the federal courts’ equitable power were “impotent English tribunals.” She writes her dissent “with deep disillusionment” because judges will henceforth be forced “ to shrug and turn their backs to intermittent lawlessness.”
Sinking further into the shallow idiocy of a theater kid, she frets that “this suit raises a mind-numbingly technical query...” Well, yes, because that’s how the law works in America—we examine whether judges followed procedural due process, which is inherently technical.
Then Jackson follows up with the stupidest question a Supreme Court justice has ever asked. Rather than fussing about “legalese,” she says, what’s really important is this: “May a federal court in the United States of America order the Executive to follow the law?”
The answer, as it has been since the Constitution established the federal court system, is that the court may apply the law as it understands it to the parties before it, including the Executive Branch. However, the unelected judge sitting in a local courtroom may not unilaterally undo the People’s will as expressed in their vote for the executive. The people’s protection against a tyrannical executive lies in the fact that important issues or potential conflicts between appellate districts can ultimately go to the Supreme Court for it to determine whether the law is constitutional and, if so, how it is to be applied.
All of the above emotionalism and stupidity are just from the intro to Jackson’s dissent. Truly, the theater, not the bench, is Jackson’s natural habitat:
This is Supreme Court Justice Ketanji Brown Jackson previously appearing in a ‘queer’ Broadway production of ‘& Juliet.’
— Oli London (@OliLondonTV) June 27, 2025
Today in the Supreme Court she was called out for “extreme” dissent for ruling against the landmark birthright citizenship case. pic.twitter.com/jgFWXRLLHB
Talk about a clown show...
Sonia Sotomayor is, if anything, even more shrill and emotional, although Barrett, perhaps out of deference to Sotomayor’s age and (apparently) more pleasant personality, didn’t put her in the line of fire. According to Sotomayor, by saying that district courts must wait patiently for the Supreme Court to rule on the nationwide applicability of an executive order (again, the norm in America for centuries), means that “[n]o right is safe in the new legal regime the Court creates.” She’s one brave justice who “will not be complicit in so grave an attack on our system of law...”
Rather than focus on picayune things such as unelected local judges arrogating Article II power to themselves, Sotomayor wants to go directly to birthright citizenship. Due process? Forget about it! Who needs it? She has more important matters.
The Democrats’ theater kids aren’t limited to the Supreme Court. The entire Democrat party is the high school drama department writ large.
From anti-war die-ins, to little pink hats, to drag queens, to Chuck Schumer dramatically insisting that the Big Beautiful Bill be read aloud (which is a good idea if it forces congresspeople to read the bills on which they vote), to congresspeople having hissy fits during hearings, to the ultimate drama kid of all drama kids, Cory “Spartacus” Booker doing his best drama class impression of Jimmy Stewart in Mr. Smith Goes to Washington, for the Democrats, everything is theater.
It’s fake. All of it meant to force the masses out of reason and into manipulable irrationality. However, as Philip K. Dick said (and it’s a quotation you need to think about for a moment to appreciate), “Reality is that which, when you stop believing in it, doesn’t go away.”
Leftists, immured in their creative world, have tried to ignore reality for a long time. Whether it’s the wonders of open borders, fealty to the climate gods, the abandonment of biological sex, the belief that they won’t get hurt standing in front of moving vehicles, the claim that Islam really is a religion of peace—all those things have become their “reality.”
But no matter how they insist upon their unhinged fantasies, the real world is out there. That they’ve rejected it doesn’t mean it’s not forcing its way into their world—and President Trump is driving the bulldozer behind forceful intrusion into their clown-world.
Image created using ChatGPT.