Life at Fifty

I am now in my third year of writing articles for this site, and they have added up: today’s is my 50th (review them here). Much of my writing here (and at The Occidental Quarterly print journal) has addressed the way Hollywood film has subtly and not so subtly attacked Whites, particularly White males.

One 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 one.

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 relentless  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.”

I should have been more on top of this development, but I wasn’t. Thus I was caught off guard when I read the excellent TOO articleHijacked on the Way to the Apocalypse by Penelope Thornton. In it, she discusses three new films and their White and non-White bearings.

First comes 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.

Finally comes 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 unabated.”

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 uplifting civilization.

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 Who 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 Dragonand Picturing Oriental Girls: A (Re)Educational Videotape.

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’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.

Since this 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, here,here, and here, for example.)

In essence, 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.

The more accurate application of this formula would be this:

“Jewish Power + Hostility = Displacement of Whites”

Or, possibly:

“Jewish Power + Hatred = Eradication of Whites”

Limiting 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 altruistic punishment among Whites.

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.

I can’t 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.

Edmund Connelly (email him) is a freelance writer, academic, and expert on the cinema arts. He has previously written for The Occidental Quarterly.