One sad byproduct of growing old is that one’s neurons are transformed into morons. Luckily for me, most of my moron-converts deal with useless knowledge like sports trivia and pop-culture. But sometimes that knowledge is useful, for example when I wish to write about it in this blog.
I saw a movie preview recently that takes place in Britain circa 2050. An investigative reporter is hot on the trail of a mysterious fire in an apartment complex. As he closes in on his query, the plug is pulled on his assignment; he was getting too close to revealing a corporate secret that the bigwigs did not want revealed. I am certain that a reader will recognize the film and post a link. But what struck me about the movie is that this futuristic Britain is depicted as being almost entirely white. All the executives, sitting around their large corporate table, were white. The poor people on the street were mostly white and the reporters were white. The villains were white and so were the heroes. I do not know when the movie was made, but it has been common knowledge for a long time that Britain is rapidly becoming a non-white country. It is incomprehensible that anybody, in recent years, could imagine such a white Britain thirty years hence.
I was reminded of the movie Idiocracy. Though it did show many non-whites, a majority of Americans were clearly white – especially the most idiotic of them. I had viewed the movie with a relative and had commented to him that this is not what America will look like so far in the future. Not that the movie was meant to be an accurate prediction but, as I’ve noted before, when it comes to race, nothing is by chance in the media. Everything is carefully calculated. So, when we see the movie industry showing the public a future that is largely white, we should ask, “why?”
In his book “Systematic Racism: A History of Oppression“, Joe Feagin writes (pg. 239):
Many white political, economic, religious, and academic leaders, as well as many rank-and-file whites, strongly prefer a future United States that is overwhelmingly white. This is even the case for the prominent science fiction writers and leading moviemakers who prepare widely circulated books and widely distributed movies for the general public. In recent research, Victor Romano has analyzed contemporary science fiction movies – such as Gattaca, Minority Report, and A.I. – and found that a racist formula is typically employed in creating these futuristic movies:
“Whites play all major characters (a token black is OK, but no Latinos). Whites compose the vast majority of the population, despite the fact that they will likely be the minority. People of color should not be cast in roles that would have great power. Interracial dating/marriage has no place. There is usually some new form of life that is feared or revered.”
In contrast, today some 30 percent of the U.S. population is currently made up of Americans of color, who will likely be the population majority by about the middle of the twenty-first century. Yet today most white moviemakers seem to be dreaming of a mostly white future.
Feagin’s book was published in 2006 and it is essentially a long diatribe against whites. But I do believe he is right about one thing: many whites actually do prefer a future United States that is overwhelmingly white. Many Hispanics would prefer it to be overwhelmingly Hispanic. But Feagin must be smoking some powerful ganja if he believes that Hollywood elites are pro-white.
In order to understand why the movie industry insists on portraying a white future, let us recall the words of one of their late beloved icons, Robert Kennedy:
First, our cities will not be flooded with a million immigrants annually. Under the proposed bill, the present level of immigration remains substantially the same … Secondly, the ethnic mix of this country will not be upset …
Kennedy was an evil, cunning man. He was not a stupid man. If he did not realize what his immigration bill would do to this country, surely he should have noticed the change after it had already been in process for decades – and yet he never apologized for his above promise, nor did he ever admit he was mistaken. Kennedy’s promise is Hollywood’s promise. They are of the same camp and they adhere to the same strategy: deception.
When futuristic movies depict a white future, it is just one more example of the manipulation of the mind of the masses. A movie is simply another dimension of reality for most people. Though they will not admit it, their perception of the world is largely shaped by the movies they view. The higher up decision makers are sending white Americans a message. The message is, “there is no need for fear. No need for panic. Everything will be as it’s always been and your place in the world is assured. Pay no attention to the xenophobes; they are alarmists…”
But each movie, of this genre, strikes twice. Firstly, it reassures whites that everything is okay, when it is not. Secondly, it reaffirms the impression, among non-whites, that they are being left out and discriminated against. Fools such as Feagin act as cheerleaders for the hostile elite that rules from the shadows.
Another question would be: what role do white fantasy movies (such as The Lord of the Rings) play? Do they provide a false sense of comfort for whites by allowing them to escape the reality of their dispossession through make-believe worlds or do they inspire whites to alter the reality they live in. I suppose it depends upon the viewer, but I am inclined to say the former is most common. Like everything else, it is a numbers game. The hostile elite do not mind bringing a few to their senses if many more are enthralled by their hypnosis. We can look at such movies as a form of white-nationalist pornography. Some may learn to be better lovers, but most will sink into their fantasy land and become irrelevant to the real world (in this arena at least).