Counter-racism and hypocrisy
The progressive-minded Western intelligentsia did not learn from the twentieth century that racism is wrong, but that white skin is wrong. Celebrated showman Jimmy Fallon himself was shocked by the way his enlightened, liberal audience expressed its amazement with the burst of loud applause as 2020 was the first year in the United States when fewer white babies were born than colored ones. On such a dubious basis, the National Socialists were the last ones being so enthusiastic about the imperial days in Nuremberg — the only difference was that Aryan newborns were celebrated there. I point out that what happened at the recording of the 1500th Tonight Show is not humanism, but open counter-racism: not a rejection of prejudice about origin and skincolor, but its preservation and practice turned around.
IF THE COLOR OF HUMAN SKIN CAN BE A SOURCE OF SIN OR VICTORY, WHICH IS RELATED TO SHAME AND DISADVANTAGE OR PRIDE AND ADVANTAGE, IT MEANS THAT THE PENDANT IS VERY MUCH OVERFLOWING THE GAUGE OF ELEMENTAL HUMANITY,
and the past repeats itself with the opposite sign — behind the spontaneous ovation in the NBC studio there is the entire origin-based quota system of U.S. higher education.
The above parable of reverse racism is by no means an exceptional and isolated phenomenon — not so much that in Hollywood roles in the allocation of roles are already routinely used to eliminate the distinct status of groups labeled as privileged, so that some of these emboldened actors dig their own grievance grounds to advance their individual interests. As wise and lovable as the excellent dwarf actor Peter Dinklage was in the interpretation of Tyrion’s Lannister in Game of Thrones, he was so foolish and arrogant in real life. Most recently, he criticized the live-action version of Snow White and the Seven Dwarfs for not being politically correct enough with low-rise people and portrayed them in a stereotypical way, including living in a cave. It is miserable and ridiculous that, as a result of Dinklage’s statement, Disney has moved heaven and earth to reassure the public that the criticism will be heard and that care will be taken to ensure that the depiction of dwarves is not offensive.
The dwarves that make up a distinct race in the Grimm Brothers’ fairy-tale world have roughly much to do with Peter Dinklage besides that their stature is the same — and I’ll just incidentally note that in the tale, Snow White’s dwarves don’t live in a cave but in a neat cottage. Ironically, it was primarily dwarf actors who complained that the roles that were a dream opportunity were taken away from them by the most influential dwarf on the planet. It’s gratifying that Peter Dinklage was so lucky to have played the first non-stereotypical dwarf role in the history of universal drama, but other dwarf actors should be allowed to make a living from acting as long as the authors of literary world produce another serious material with interesting roles for them.
The bold innovation of Disney’s production is that the white (hence the name) Snow White will be played on the screen by a Creole-skinned Latina, Rachel Zegler, of Colombian descent. Knowing this,
WHAT MESSAGE DOES WALT DISNEY STUDIO CONVEY TO JIMMY FALLON’S AUDIENCE BY MAKING GAL GADOT, WHO IS NOT JUST AN ISRAELIC-JEWISH BORN WOMAN BUT ALSO SERVED IN THE ISRAELIAN ARMY, STAR AS THE EVIL STEPMOTHER?
Well, there are, in my view, two conflicting interpretations of the phenomenon: one is that Disney and the cultural left, which show common sense of wokeness, still believe that the Israeli army is neither colonial nor racist, and neither a black nor a brown or yellow-skinned actor would be suitable for this role, so this privileged white woman from the Middle Eastern barracks could get it, and the other interpretation is that the message of the decision that a Jew who served in the Israeli army is the ideal choice for evil role. The latter is not only a logical interpretation in the light of the progressive spirit, but it faithfully nurtures the anti-Semitic traditions of Walt Disney Studio as the founder’s anti-Semitism here encounters the anti-whiteism of the left liberal course, and progressively reflects on Black Lives Matter’s intimate relationship with the Muslim Brotherhood.
While the tumultuous progression wants to erase everything that is offensive to them in the history of Western civilization from Columbus through Jefferson to Churchill, let me suggest beginning this wokness by deleting the name of Walt Disney, who drew Adolf Hitler’s favorite anti-Semitic tales — and if I may, only then will they attempt to dissect Woody Allen and Louis C. K.’s oeuvre. But by now, everyone in the Western Hemisphere has learned that no one has the right to be vulnerable about or demand the name change of the Walt Disney Studio — on the contrary, only Disney can be sensitive and demand the abolition of everything and anything it points at. They are the consciousness elite, so if they pretend there is nothing to see here, the world will never know that and any claim to this name is mere hypocrisy.
This is how the ‘people’s movement’, led by multinational corporations, aims to prevent a discourse on social rights and the fairness of the distribution of wealth from turning the narratives of anti-racism and anti-sexism. The elite pretends to be people again and again, and so the old order can never be replaced.