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July 9, 2023

Key & Peele’s surprisingly conservative and prophetic comedy sketch

By Andrea Widburg

I don’t regularly follow the comedy duo Key & Peele, so I only now caught up with a comedy sketch entitled “Mother Majesty Empowers The Women of Tomorrow,” which premiered roughly ten years ago. It shocked me, not because it’s vulgar (which it is) but because it's prophetic. It shows how the female “empowerment” message from the left is, in fact, deadly for women and benefits only men. It was also prophetic insofar as it ties in with the new “Miss” Netherlands and Dylan Mulvaney.

There’s nothing that kills a joke more than explaining it, so here’s the video for you to watch. If you don’t want to watch it (it’s very vulgar) or can’t watch it, I’ve summarized it below (warning: NSFW):

The sketch opens with Key as Mother Majesty, a pop star from the 1990s, who’s dressed like a prostitute from the wrong side of town, even as she spouts mindless “empowerment” platitudes to screaming female fans: “This whole album is about girls and empowering girls, and you know kind of just showing girls they can be strong and powerful and do what they want to do….”

After more of this blather, Peele introduces young women with questions for “Mother Majesty.” One of the women says she took Mother Majesty’s advice in the song “Get Some And I Flaunted It ‘Til He Wanted It.” The result was that she lost her virginity to a stranger and got pregnant. Mother Majesty responds with more slogans: “You see, it is time for girls to take back the power nowadays because it’s your body and it’s your mind, and you should use that to feel sexy and empowered.”

Another young woman speaks up, saying that, in one of the songs, Mother Majesty sings, “bend it over, touch the ground, he’ll ride you like his merry-go-round.” The woman then asks, “Is that about butt sex?” Again, the response is a barrage of empowerment “feel-good” hot air: “What it’s about, Cassie, is us reclaiming our bodies as women because you know for a long time being sex was about being sexy for a man, but this is about being sexy for yourself.” The girl’s response? “But I’ve got herpes in my butt.”

After a little more vapid empowerment talk, the scene shifts to Mother Majesty in her dressing room. Now, at this point, we all know that Key, the male actor, has been pretending to be a woman. We’ve accepted that because, after all, Key & Peele are two men. If they want a “gender binary” sketch with a male and a female, one of them must pretend.

However, the sketch now shows Mother Majesty removing “her” wig to reveal that, unbeknownst to “her” fans, she is, in fact, a man…and a very evil one: “That’s right, girls. Being overly sexual and being strong are the same thing. It’s the same thing. It’s the same thing. [Evil male laughter.] Girl Power!”

If that isn’t an accurate message, I don’t know what is. Since the 1960s, the left has used empowerment, not to build women up but to tear them down and to tear society down.

Betty Friedan, who wrote so powerfully about how miserable women were having and raising children within the confines of a marriage, was a communist. One of the things few know is that the more radical the leftists in the 1960s, the more they used the women in the cause as their sex toys. Even at the beginning, before the establishment took over the message, it was never about empowering women; it was always about using them in one way or another.

The fact that the Key & Peele character is actually a transvestite only hammers home how the messages sent to young women are intended to serve men. This is especially true with how the suddenly omnipresent “transgender” madness has destroyed the spaces women have carved out for themselves, whether in sports, restrooms, advertising, or anything else.

Indeed, just yesterday, a man with a severe overbite won the title of Miss Netherlands, sending him to the Miss World competition:

Bonchie points out what may be the most sinister thing about the video:

In one of the most surreal displays imaginable, the women in the background don’t look unhappy. They don’t show a hint of discomfort with what’s transpiring. On the contrary, they appear overjoyed at the result. You hear the announcer proclaim Kolle the winner, and the other contestants start bouncing up and down with excitement. They are clapping profusely and grabbing their faces with glee.

Stockholm Syndrome is complete.

And speaking of a man usurping girl power, let me add Dylan Mulvaney to the mix. Remember, he’s not pretending to be a man; he’s pretending to be a girl. He is the ultimate avatar of the leftist takeover of “girl power,” not to mention a pedophile’s wet dream, which is a sexually available prepubescent girl who won’t get pregnant and desperately wants him (and pardon me for the vulgarity, but it’s appropriate):

One other thing that Key & Peele reminds me of is the huge areas of life and politics that are now off-limits. We’ve been amusing ourselves watching Whose Line Is It Anyway. Aside from being endlessly impressed by the cast’s talent, we can’t help but note the number of gender jokes from a frequently all-male cast, race jokes from the mixed-race cast, and political jokes about Clinton and Gore. They are a reminder of a time when comedy could be only slightly risqué even while touching upon a lot of issues that are now taboo third rails.

Image: Dylan Mulvaney. Twitter screen grab.

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