We move on to the curious case of Alex Borstein, a study in the banal cruelty of so-called comedy, where her wit is as shallow as a street puddle and the artistry as refined as a retard’s crayon scribbles. One might say her career is a grotesque carnival of derivative mimicry, where every role is a hollow echo, a crude facsimile of humor stripped of intelligence and laden with the cheapest of provocations. Consider her MadTV tenure, where she paraded about as Ms. Swan, that bucktoothed, pidgin-speaking grotesque goblin-like creature, a character so devoid of nuance, it's like watching a desperate clown honk a bicycle horn for seven straight minutes, praying someone, anyone will plug the bitch and make her stop. "He looka like a man!", how very mocking of Chinese women everywhere. Yet the Jews, in their infinite perversity, allow such things to persist, don’t they? Just as long as she happens to be a Jew. Then there was Mama Brightling, a sneering, wheelchair-bound caricature, performed with all the subtlety of a baseball bat to the skull, alongside Seth Green’s equally contemptible and exact same southern-drawl mockery. Was there ever a joke in the writing, or was it simply the act of pointing and laughing at both the disabled and southerners?

Her impressions, a generous term because they were little more than wigs and bad affectations, became a parade of celebrity skins worn without insight or cleverness. Betty Ford, Bjork, Chelsea Clinton, Dolly Parton, Geri Halliwell of the Spice Girls, Janeane Garofalo, Melanie Griffith, Regis, and many more - each reduced to a single exaggerated tic, a lazy shorthand for humor in the hands of someone who mistook recognition for talent. Then, of course, there is Lois Griffin, that shrill, ear-piercing harpy of Family Guy, a voice so relentlessly abrasive you might prefer Freddy Krueger attacking an old-school chalkboard. Even in Family Guy where almost everyone is an annoying twat, her voice stands out as particularly insufferable. Beyond these, her filmography reads like a graveyard of forgettable roles: a throwaway in The Lizzie McGuire Movie, a forgettable presence in Shameless (but the show a fitting title for her), and Astra in The Marvelous Mrs. Maisel, a performance lauded far beyond its merits, as if volume alone were a substitute for talent. You'll find this to be common among quite a few Jews like her.

Despite it all, the industry embraces her. Awards are bestowed, accolades piled high. One might ponder why this particular purveyor of cheap shots and stereotypes no other race would get away with is so celebrated. Perhaps a glance at the Board of Governors for the Oscars would offer illuminating insights. Because it is simply that Hollywood, like the Jews, thrives on contradiction, screeching about bigotry while rewarding those who transgress only if they're the "Chosen" people. When you strip away the wigs, the exaggerated voices, the crutch of shock humor, what remains of Alex Borstein’s artistry is a fat, hollow nothing and typically, exactly what you witness when you gaze upon this disgusting lard filled sow.