Dom Lucre got it a third of the way correct when he wrote on X that the Christmas video brought to you by the Jill Biden White House was “Gay.” But, it is not just Gay—it is also Ghey and GAE. Leave it to the ruling class to hit the trifecta.

Talking heads of every political stripe will overthink this video, but the explanation for why it is so trashy and yet was supported by the current occupants of the White House is simple—they hate anything that promotes the raison d’etre of Christmas.

There is nothing—zero—in the interpretative dance video that has anything to do with solemn and serious nature of this time of the season, or even the Nutcracker story.

The troupe selected for this technically awful performance is a tap club called Dorrance Dance. Part of the awful technical error of the video (excluding, for the moment, the theme) is that the tap dancers are not shot in full view—so we cannot even judge the quality of the performance. Any shot of the tapping quickly fades into a closeup, obscuring the ostensible point of the “art.” To many on X, this suggested that the tap sounds may have been dubbed. One excellent example of what people are talking about is the opening scene where it is clear that an extra tap sound is present. The tap sound in the video appears fake.

Compare this with White Christmas (1954)—where the talent of the dancers can be both seen and heard and  keeps to the rhythm and the beat, and all within the framed shot. The full figure of the dancer is always in view. The soundtrack is natural and unedited. Not so with this White House video.

One also cannot help but notice how the dance in White Christmas tells a story. The interplay of the characters in the dance is part of the context of the film. The Bidens’ Milli Vanilliesque Dorrance Dance Troupe, tells no story because they have no story to tell. If there is any message, it is that the wonder of Christmas is narcissism—each individual presenter of the dance demands the focus of the camera, in a way that obscures any larger theme, if there is one.

Perhaps the reason Dorrance was employed for this “performance” is because they espouse all the politically correct secular wokeisms of the present moment. Their website is littered with lengthy action appeals. No surprise, they are social and racial justice warriors for “people of color.” Hence, the troupe is a cover for “action” against whitey and Asians. No mention of the injustices suffered by Hispanics. Must be a simple oversight. Moreover, we are presented with this doozy: they believe that black women are being jailed for … voting. In light of these “injustices” they want to abolish prisons, but also incarcerate police. Even more, the troupe wants to abolish the police. Why? Because they murder people of color. No word on how people of color in the police are also “murdering” people of color. But we can dispense with such uncomfortable questions when it comes to promoting all things woke. Consistency is not their forte.

Dorrell Dance, then, is a front for leftist political causes. This is why they are featured.

The Nutcracker Suite is a late-19^th-century ballet, the music of which was written by the Russian composer Potyr Illych Tchaikovsky. It is set at the foot of a Christmas tree in a child’s imagination on Christmas Eve. In two acts, the Nutcracker describes a fantastical confrontation and great battle in which a brave prince defeats the evil forces of the Mouse King. The restoration of the prince to his former self after the defeat of evil secures peace, happiness, and gratitude before the dawn of Christmas Day.

This plot is based on the German Romantic author Ernst Hoffmann’s 1816 short story, which is darker than in the ballet and even more directly about courage and sacrifice winning out over those who practice evil through their narcissism. Evil destroys the looks of one of the main characters in Hoffmann’s story, and the princess to whom he was betrothed refuses his hand because of the curse that turned him ugly. The story is about cultivating a soul capable of overcoming shallowness rooted in mere appearances.

Such is the White House Christmas this year. It promotes the opposite of the intended message of either the ballet or the story. The Biden White House, through Dorrance Dance, has rewritten the Nutcracker into a show of ugly self-promoting narcissism and the Bidens’ brand of political activism. The Mouse King in this version is not an evil foe, but rather just one player in some whimsical group. If you get the sense you do not know what Dorrance is actually saying in their interpretive dance, then you are not mistaken—there is no point to their dance because there is no moral to their story.

Welcome to another vapid Biden Christmas.