If you want to understand the leftists of the twenty-first century, you won’t find a better guide than a writer who died more than seventy years ago. George Orwell (1903–50) exposed the psychology and tactics of leftism in his two greatest books. In Nineteen Eighty-Four (1948), he satirized the way leftists practise the opposite of what they preach: “The Ministry of Peace concerns itself with war, the Ministry of Truth with lies, the Ministry of Love with torture and the Ministry of Plenty with starvation.”
Preaching equality, practising hierarchy
And in Animal Farm (1945), he satirized the dishonesty and deceit of leftist rhetoric: “All animals are equal, but some animals are more equal than others.” In other words, Orwell saw that leftists are not serious about the sacred leftist principle of equality. It is merely a slogan, a rhetorical smoke-screen beneath which they advance towards their real aims: privilege for their favoured groups, enslavement for their enemies. In 2022 a leftist children’s writer called Jacqueline Wilson has adapted Orwell’s joke from Animal Farm. But Wilson is perfectly serious when she makes one of her female characters say: “In the modern world girls are just as clever as boys, and sometimes cleverer.”
In other words, men and women are equal, but women are more equal than men. The same applies to Whites and non-Whites. In leftism, all races are equal, but some races are more equal than others. That is, some races are superior to others. Or rather, all races are superior except one. Whites are now cast in the role of under-race and portrayed as the greatest villains, thieves and exploiters in history, sickeningly and supremely responsible for the horrors of racism, slavery and genocide. That’s why White actors are now banned from taking any non-White role, while non-Whites are free to take any White role they please. It’s a question of racial privilege, something that leftists claim to oppose but in fact wish to re-create and reinforce. This time, however, Whites are on the bottom of the racial hierarchy.
Transgenderism is good, transracialism is bad
That’s why it’s very interesting that some Jews are now calling for an end to “Jewface,” or the casting of White actors in Jewish roles. The term “Jewface” is an adaptation of “blackface,” which referred to the way White actors blackened their faces to play Black characters. For example, the British actor Laurence Olivier (1907-89) used blackface in his acclaimed performance as the traditionally Black protagonist of Shakespeare’s play Othello (c. 1603). Olivier triumphed in many Shakespearean roles and is still widely regarded as the greatest actor of modern times. But none of that—his prodigious talent, his praeternatural charisma, his passionate devotion to Shakespeare—matters any more. Olivier’s blackface Othello is now regarded as an abomination that must never be repeated.
But leftists don’t explain exactly why White actors are now banned from Black roles, just as they don’t explain why transgenderism is good, while transracialism is bad. For leftists, men can literally become women by proclaiming that they are so, but Whites cannot become Blacks by proclaiming that they are so. Why the difference? I think I’ve explained it in articles like “Power to the Perverts!” and “The Tyranny of Translunacy.” It’s a question of higher and lower status within leftism. Those belonging to a group with higher status can invade the territory of a group with lower status, but not vice versa. Transwomen—the variously disturbed and perverted men who claim to be women—have cleverly marketed themselves as a persecuted and vulnerable minority akin to homosexuals. They therefore have higher status in leftism than the ordinary women whose territory they want to invade.
Disassociating Jews from the “white under-race”
But “transblacks”—those Whites who claim to be Black—cannot market themselves as of higher status than Blacks. They’re White and therefore belong to an under-race with the lowest status of all. That’s why leftists anathematize White-to-Black transracialism. Whites cannot invade Black territory, because Whites are inferior to Blacks. However, Blacks can invade White territory whenever they please, therefore Black actors can take any White role. A Black actress has played the White queen Anne Boleyn; Black actors have played White heroes like Achilles and Galahad; and the heavily promoted Netflix series Bridgerton has filled early nineteenth-century England with elegant and intelligent Black aristocrats. What’s forbidden for Whites is celebrated for Blacks. Leftists don’t openly explain why this double-standard exists, because they don’t want to admit that they’re creating a racial hierarchy with Whites at the bottom. If they admitted that, they would alert ordinary Whites to the worse things that lie ahead. Leftists want to enslave ordinary Whites and leave them completely at the mercy of increasingly vicious and resentful non-White criminals.
Maureen Lipman plays an oppressed minority
I think that’s why some Jews are now campaigning against “Jewface.” They want to disassociate Jews from the White under-race and establish Jews openly as a privileged non-White minority, allied with the other minorities whom, in Jewish-leftist propaganda, Whites have oppressed so cruelly for so long. In the UK, the Jewish actress Maureen Lipman has complained that the gentile actress Helen Mirren should not have played the role of the Jewish prime minister Golda Meir (1898–1978) in the forthcoming film Golda. Lipman says that Jewishness is “integral” to the role of Meir, therefore a gentile actress cannot authentically perform as Meir. What Lipman really means is that Jewishness is superior to goyishness, therefore an inferior goy should not take on the role of a superior Jew. The unfunny and physically repulsive Jewish comedian David Baddiel has supported Lipman in the Guardian, but he too has not admitted the real reason for his opposition to “Jewface”:
The deep truth of any marginalised identity is only available to those who live that identity. Casting a non-minority actor to mimic that identity feels, to the progressive eye, like impersonation, and impersonation may carry with it an element of mockery—or at least seem reductive, reducing the complexity of that experience by channelling it through an actor who hasn’t lived it.…
Jewish is the minority that you can cast with actors not of that minority, and hardly, until very recently, hear a whisper of concern. … [This issue is] about the idea that minority experience should be expressed by those who truly know it, rather than caricatured by those who don’t. It would be an interesting conclusion, given 2,000 years of persecution, that the representation of Jewish identity doesn’t deserve this complexity. …
In all the aggressive tweeting about Lipman, I saw many photos posted triumphantly of when she once played a vicar in a TV show. Social media loves of course an Aha! meme, and those who hated Lipman for saying her Golda Meir thing posted it luxuriously, as if it proved her bang-to-rights wrong. But minority casting is not a two-way street. Dev Patel can play, obviously, all the south Asian parts he gets offered, and he can also now play [the white role of] David Copperfield. (‘Why don’t Jews play Jews?’—David Baddiel on the row over Helen Mirren as Golda Meir, The Guardian, 12th January 2022)
Note that Baddiel thinks Jews have suffered “2,000 years of persecution.” His anti-Christian bigotry is showing, because “persecution” of Jews—that is, justified gentile responses to Jewish misbehavior—is far older than Christianity, as Andrew Joyce has described in articles like “Exodus Redux: Jewish Identity and the Shaping of History.” Now look at Baddiel’s argument for banning Whites from non-White roles: “The deep truth of any marginalised identity is only available to those who live that identity.” He claims that when a profane White plays a sacred non-White, the performance is “reductive, reducing the complexity of [non-white] experience by channelling it through an actor who hasn’t lived it.” There is no “deep truth” or “complexity” to White identity and experience, you see. Whites are one-dimensional, banal and boring compared to complex, highly intelligent and endlessly creative Blacks and other non-Whites.
“Color-blind” means “anti-white”
But we Whites have pretended otherwise in our literature and theatre, creating some very flattering and interesting characters and roles for ourselves. Now it’s time for those juicy roles to go where they really belong: to non-Whites. That’s why, as Baddiel described, the South Asian actor Dev Patel can play the Dickens character David Copperfield, but no White actor can play a South Asian role. Patel himself has said that “Dickens is a truly universal story” and that no-one should object to his “color-blind” casting in the role, because “It’s just people playing people, like actors are meant to do.”
But Patel would not say that a White actor could be chosen to play a brown Indian character like Buddha or the Emperor Ashoka. Color-blind casting works only one way: actors from superior races can take the roles of characters from the inferior White under-race, but not vice versa. And David Baddiel, Maureen Lipman, Sarah Silverman and some other Jews want Jews to be added to the list of roles forbidden to Whites. They can see where cultural trends are heading and want to disassociate Jews from the White under-race. Interestingly, Golda Meir’s own grandson, Shaul Rahabi, doesn’t agree with them. He has said that “I have no issue with Helen Mirren being Jewish or not Jewish playing my grandmother. It doesn’t matter at all. I’m sure Helen Mirren is great.”
Meir’s grandson is an Israeli and lives in Israel, where “whiteness” is prized among Ashkenazi Jews because it separates them not just from Arabs but also from dark-skinned Mizrahi Jews, whom the Israeli prime minister David Ben Gurion (1886-1973) “didn’t want” in the country. As I described in my article “Efface the Facts,” Jewish advertisements sometimes represent Ashkenazim with pale skin, blue eyes and goyish features.
Anti-White hate will worsen
As ever, it comes down to that simple question of “What’s best for Jews?” In Israel, it’s good for Jews to claim “whiteness,” because there’s no competition from genuine Whites. In the West, it’s good for Jews to denigrate Whites, deny White achievements and cast Whites as history’s greatest and most incorrigible villains. This anti-White campaign has incited non-Whites to attack Whites even as those non-Whites are given special privileges in employment and law. Acting is one small but culturally significant part of this White dispossession. All White roles are now open to non-Whites, but Whites are banned from non-White roles.
It’s a blatant double-standard based on an implicit racial hierarchy that contradicts the explicit leftist principle of racial equality. Leftist Jews like Maureen Lipman and David Baddiel now want Jews to get the advantage of the double-standard too. They can see that the campaign of anti-White hate will only get worse. But as anti-White hate worsens, more and more White eyes will open. And among the things those eyes will see is the leading role of Jews in the ongoing war on Whites and Western civilization.