Life at Fifty
phenomenon I’ve focused on is the role reversal between Black and White male
characters. In the old days, White were usually the heroes; now it almost seems
evenly matched, despite White males outnumbering Black males by about seven to
Of course I
don’t believe this is “just happening.” Rather, I think it is a conscious
strategy employed by the Jews who dominate Hollywood, yet another part of their
culture of critique. I’ve
argued that two African Americans — Morgan Freeman and Denzel Washington — have
been chosen to lead this image transformation. In other words, they have been
used to create the mold for “The Numinous Negro.”
have been more on top of this development, but I wasn’t. Thus I was caught off
guard when I read the excellent TOO
on the Way to the Apocalypse”
by Penelope Thornton. In it, she discusses three new films and their White and
the Mayan doomsday story
2012, where Thornton observes that
the U.S. President “elects to stay with the un-elect and disappears with the
rest of us, under the USS John F. Kennedy aircraft carrier as it flattens what's
left of Washington DC. The image of the wise, altruistic Black president who, as
a member of the elite could have saved himself but goes down with the ship is,
one of the most striking images of the film.” (Unfortunately, Thornton identifies
the actor as Morgan Freeman — “St. Morgan (aka America’s
Spiritual Presence-in-Chief) for most of us” — but it is actually
Danny Glover. Still, the visual message remains the same. The confusion is
understandable: When Americans think numinosity, they think Morgan Freeman.)
She continues: “The political messages are interesting. We are led by a saintly
Black president to our inevitable demise. The two structures that you see
toppled completely are the U.S. Congress and St. Peter's in Rome. The United
States of America and the Catholic Church have got to go?”
Ah, the old Jewish desire for revenge on Rome again. Remember when Steven Spielberg indulged himself by having a Catholic Church steeple tumble over in War of the Worlds? (Scroll down to the 1:20 mark.) Freud had the same fantasy, too.
Thornton outlines the plot and players:
The movie is pitched to White people, with the main characters, played
by John Cusack and Amanda Peet, and their family life providing most of the
human element of the story. But the Whites are living in a world where Indian
scientists discovered the problem, the Chinese have the technology to escape the
disaster, and there’s a Black president of the United States. Although they have
a central place in whatever emotional pull the story has, in the big picture,
they are bit players.
Next comes the film
Legion, in which “Mother Mary who is with child is a slutty
waitress. . . . And Mary is a whore, of course.” Sounds like modern Hollywood.
The Book of Eli, starring Denzel Washington.
Thornton describes his role in this movie as “a kind of Black Jesus
Figure.” Why not, Morgan Freeman
has twice played a Black God, first in
Bruce Almighty and then Evan Almighty.
Naturally, the bad guys are all vicious White men. As Thornton writes, “besides
having a Black Christ figure, the Whites in the movie are uniformly subhuman,
savage, and beyond salvation. To a man they are absolutely repulsive. No
subliminal programming here! Hollywood's war on the White male continues
Thornton sums up the message:
Denzel Washington wrote the movie with Joel
Silver, a Jewish screenwriter and producer. Once again we are
treated to a favorite theme: A noble Black man will lead us out of the darkness
of the White man with the words of God's Chosen People. Jews and Blacks working
together to destroy evil White men in the interests of producing a morally
As luck would have it, the story I read immediately after Thornton’s was a Los
Angeles Times article called
A Hollywood Whitewash?
In this story, Asian Americans complain about Whites being cast as
Asians in two of this year’s big films. Noah Ringer, for example, plays Asian
martial arts savant Aang in
The Last Airbender.
Then there’s Prince of Persia: The Sands of Time. The L.A. Times notes that “None of its principal cast members are of Iranian, Middle Eastern or Muslim descent. And playing Dastan, the hero and titular heir to the Persian throne in the $200-million tent-pole film, is none other than Hancock Park’s own Swedish-Jewish-American prince, Jake Gyllenhaal.”
That one’s got to gall Arabs and Persians/Iranians as well. Gyllenhaal’s mother
is Ashkenazi Jewish, so according to Jewish law, he is Jewish. Given the Persian
conquest of Jewish tribes over two thousand years ago, this is a nice little
piece of cinematic revenge.
Asian Americans have been most active in challenging how they (and Asians) are portrayed. This issue gained exposure twenty years ago when the Madam Butterfly-derived Miss Saigon opened with White actors playing Asian roles. As Wikipedia tells us:
Originally, Pryce and Burns, white actors playing Eurasian/Asian characters, wore eye prostheses and bronzing cream to make themselves look more Asian, which outraged some who drew comparisons to a “minstrel show."
In the London production of Miss Saigon, Lea Salonga originally starred as Kim, with Jonathan Pryce as the Engineer. When the production transferred from London to New York City, the Actors’ Equity Association (AEA) refused to allow Pryce, a white actor, to recreate the role of the Eurasian pimp in America. As Alan Eisenberg, executive secretary of Actors' Equity explained, "The casting of a Caucasian actor made up to appear Asian is an affront to the Asian community. The casting choice is especially disturbing when the casting of an Asian actor, in the role, would be an important and significant opportunity to break the usual pattern of casting Asians in minor roles.”
Despite being a far smaller and historically newer minority group in American
than Blacks, Asian Americans have constructed a solid apparatus for critiquing
images of Asians and Asian Americans. It is largely university-based and
features such pioneers as Elaine Kim and Ronald Takaki. The
L.A. Times article was over half a
page long and there was no shortage of Asian American activists and groups to
quote from. Can you name any such White activist groups that would get quoted
defending White interests?
I suspect many college students still get exposed to the ritual accounts of
endless Asian victimhood at the hands of racist Whites. The documentary
Killed Vincent Chin? probably
still gets screenings on college campuses around the country. Then there is the
critique of the feminization of Asian peoples, led by eroticization of Asian
women. This can be seen in the films
Slaying the Dragon and
Picturing Oriental Girls: A
Quite frankly, I sympathize with Asian Americans and their efforts to exercise a
greater degree of control over how they are (mis)portrayed. Given the power and
pervasiveness of modern media, all too often perception IS reality. In other
words, images have consequences. And if your image if bad, your group is likely
to suffer the consequences.
I am not aware of any specifically White groups that defend the image of Whites
in our media — and get media exposure. David Duke, Michael Hoffmann, and your
humble scribe have striven to raise the consciousness of Whites about the very
deliberate campaign to paint us as evil racists. But of course we get only the
exposure we ourselves generate.
Gone are the days when mainstream White Christian groups such as the Legion of
Decency or the Breen Office could cow the Hollywood moguls by threatening
boycotts. Today, William Donohue, the head of
the Catholic League for Civil and Religious Liberties,
does some work toward defending the image of Catholics, but this is minor and
only implicitly White.
I won’t make a call for the White masses to rally to their own defense because I
know that will not happen under current conditions. Far too many Whites have
internalized the images our “hostile elite” has created for them. This is
unfortunate, for they are in grave danger indeed.
At best, the danger is one of White dispossession and replacement with non-Whites. This is happening apace and is nearing the point of no return. At worst, Whites may face persecution and massacre on a scale similar to that seen in Russia and Eastern Europe when Jews became a hostile elite there. This is a theme I’ve emphasized and written about unambiguously, so I’m reluctant to repeat myself. But our survival demands it.
As luck would have it, the TOO blog for June 21 has Kevin MacDonald writing on this threat as explicitly as he ever has. Called Jews as a hostile elite—again, it begins with a quote from VDARE.com’s founder Peter Brimelow: “Our political class may live in a fantasy world, but the motive for its immigration enthusiasm is all too real: a relentless hatred of the historic American nation.”
MacDonald then argues:
It really wouldn’t matter much that Jews have become an elite except for this relentless hatred and loathing. After all, all societies have elites. What is toxic is that such a substantial portion of our elite—especially that part of the elite that is ensconced in the media, the financial, and the academic world — hates (loathes, despises) the traditional people and culture they rule over.
We should never forget what happened when Jews were a hostile elite in the USSR. The loathing and contempt for the traditional people and culture of Russia was a major factor in the avid Jewish participation in the greatest crimes of the 20th century.
So the conclusion is that the Jews ... deposed the WASP elite by appealing to their guilt proneness to the point that the new Jewish hostile elite has carte blanche to displace them by importing a new people (opposition would be “racist”) . . . [T]he loss for the traditional people of America is incalculable. And given what happened in the USSR, White people should be very afraid of what the future may hold.
is my 50th column, I’ll address the venue in which I’ve most consistently
explored this Jewish hatred of European Americans: Hollywood film. Much of this
writing appears in the print journal The
Occidental Quarterly. (See
here, for example.)
the danger is simple to explain. Let’s start with a lie commonly propagated in
American universities today. A professor begins a course by writing on the board
“Power + Prejudice = Racism.” He then asserts that only White men have such
power and prejudice, so racism is a White male problem, the unstated solution to
which is eradication of White males.
accurate application of this formula would be this:
Power + Hostility = Displacement of Whites”
Power + Hatred = Eradication of Whites”
myself to Hollywood, this power is easily proved. For instance, take this August
1996 cover story from the Jewish magazine Moment:
What I have
addressed in my writing is the “So What?” in this equation. Just like Asian
Americans do not control the images created about them, and consequently have to
deal with negative and harmful imagery, we Whites too have lost the power to
control images of ourselves. This has allowed our enemies to destroy our self
confidence, even to trigger
Further, it teaches non-Whites that they have been horribly victimized by Whites and have a moral right to exact revenge. Again, I’ve written about example after example of this. The narrative for Black revenge is already firmly in place, so now Hollywood has moved on to the fast-growing Hispanic population. See my “Machete”: A new front in the war on Whites for how this is being treated cinematically.
reverse this trend. At best, I can only provide these analyses with the hope
that discerning readers will learn how to read the scripted racial codes
appearing in so many movies. Once able to decipher them, the effect should be
far less potent. I must assume non-Whites will continue to be influenced by the
themes of racial revenge, however.
This is not a happy way to celebrate my fiftieth. But of course there is no reason to celebrate. We Whites have allowed this racial assault to go on for far too long. And now the bill is about to come due.