Boyd “Red” Redding.
Phantom of the Opera.
The entire cast of A Streetcar named Desire.
The entire cast of The Wizard of Oz.
The entire cast of Steel Magnolias.
The entire storyline of Birth of a Nation.
And soon, James Bond.
Among the names above, you’ll find some of the biggest names within Western literature, religion, and myth. From the literal ancient Gods of the Germanic peoples to modern day characters such as Hermione from Harry Potter, the Western literary and mythic tradition has produced some of the most interesting and lasting imagery found in the world. These stories, along with their underlying themes and vivid characters, serve as both inspiration to children and as religious belief to adults practicing the ancient religion of their ancestors. They are the product of the literary traditions of Europe stretching back thousands of years, and they often represent, in various ways, the core values that many Europeans have held near and dear. Others are less integral and more tangential to the history of Europe and America, such as Ghostbusters and Major Anderson from Ender’s game, but were nevertheless imagined by their original authors and original movies in a particular manner – White.
For many in the modern multiracial, cosmopolitan West, the ethnic makeup of movies and other media has been of little concern. Movies have been consistently starring more and more non-White characters in both secondary and leading roles, granting greater exposure to non-White actors and increasingly reflecting the darkening of America over the last 50 years. The practice of having White actors play non-White characters has ended, by and large, and allows for shows and movies to more accurately reflect reality. I and many others find it far easier to temporarily suspend your disbelief, and embrace the story at hand, when the characters are as the author originally intended them.
Increasingly over the last few years, the practice of hiring actors and actresses that reflect the ethnic characteristics of the characters being played has shifted once again; this time, White characters are consistently being replaced by Black actors and actresses. As listed above, the list of major characters being replaced is not small, and it seems to grow with every major movie, show, and play announcement. Even minority actors and actresses are noticing and denouncing the trend of replacing White actors with minorities. Moving beyond the replacement of characters, in recent years, racism revenge pornography has practically become its own genre in Hollywood. Productions such as Machete, 12 Years A Slave, The Hateful Eight, Django Unchained, and others like it all have a common thread binding them together; the malicious murder of “racist” Whites at the hand of (supposedly) righteous minorities. The latest Hollywood White snuff film to be featured is the culturally appropriated “Birth of a Nation”, the 1915 classic known for being the first film to pioneer many innovative modern camera techniques. In the original film, the plot was based around White Southerners banding together to work towards the preservation of the Southern civilization against radical reconstruction. The appropriated version being released this year is, instead, a tribute to the 1831 Nat Turner rebellion, in which escaped slaves butchered without restraint approximately 60 White men, women, and children.
Unsurprisingly, it received an exceptionally warm reception at the Sundance Film Festival.
The audience gave the movie an extended standing ovation through the closing credits, and Nate Parker, who directed, produced, wrote and stars in the film, left the auditorium as Sundance’s favorite son.
Nate Parker had the following to say regarding his motivations for creating the latest iteration of Hollywood-endorsed Europhobic snuff films:
“I made this film for one reason, with the hope of creating change agents. That people can watch this film and be affected. That you can watch this film and see that there were systems that were in place that were corrupt and corrupted people and the legacy of that still lives with us,” said Parker. “I just want you, if you are affected and you are so moved, to ask yourself, ‘Are there systems in my life that need attention whether it be racial, gender?’ There are a lot of injustices.”
I am left asking the question (and hoping for an answer other than what I am suspecting) of “what type of change?” Mr. Parker hopes to spark with this glorification of mass murder? What was his motivation in specifically taking the name of a major film about White Southroners around the time of the American Civil War? I’m not sure I want to know the answer. As pointed out at VDare:
Parker’s The Birth of a Nation raises the stakes. It’s not just going to promote white guilt, but black violence. There can be no doubt it will be celebrated by Black Lives Matter and its allies.
Parker’s recent excursion into blatant Europhobia will no doubt be nominated for and receive many awards amongst the Liberal Hollywood crowd. Most of them no longer even hide the fact that they are actively trying to displace White individuals from the entertainment industry, as evidenced by the recent comments of Adi Hasak, the creator of NBC’s Shades of Blue. During an interview with the industry outlet The Wrap, Adi said that “the White Man’s 15 minutes of fame has expired.” As evidenced by the list of ethnified major characters above, Adi was not only speaking of White men, but of all Whites. The “minority” status that White women enjoyed for so long is quickly disappearing.
What is at the root of this movement to replace established White characters with non-White actors and actresses? One could argue that it simply reflects the demographic change in America. If it were limited to the replacement of White characters with minority actors and actresses, I might agree. It seems odd that major characters who are specifically of European descent, such as Hermione, Sir Lancelot, Guinevere, James Bond, and even Heimdall (literally, “the Whitest of the Gods”), have been replaced with minority characters or are slated to be so. For so many minorities to complain of cultural appropriation, to then turn around and do the exact same thing, strikes one as the height of hypocrisy.
What concerns me more than the replacement of explicitly European characters is the growing trend in movies that explicitly celebrate the degradation, humiliation, torture, and murder of White folk at the hands of minorities who the films portray to the impressionable viewer as “justified”. Does this growing trend of revenge murder films reflect the inner wishes of those within the growing minority demographics? Is this expression a foreshadowing of the South Africanization of a minority-majority America?
Art and the media is often at the forefront of pushing the general direction and boundaries of culture, as society sits downstream as consumers of these activities. As the art world warms to explicitly Europhobic expressions, do not be surprised to see these same narratives echoed amongst the public at large. False narratives of “White Privilege”, the pervasive and omnipresent oppressive fog of “White Supremacy”, and growing resentment at the dwindling White majority by an increasingly racially aware set of minority groups are potent ingredients for the creation of a toxic racial environment. Adding fuel to the racial fires by celebrating the mass murder of White individuals & families who “deserve it” is a position of both declinist & accelerationist tendencies. In a multiracial nation, one can choose to attempt to coexist & drop historical grudges, or to agitate & perform rent seeking behaviors, or even attempt to move even further: some on all sides argue for advocating racial separation policies, as racial separation & ethnonationalist movements exist amongst all races (to varying degrees).
Even more interesting to me, beyond the displacement of White characters and the increase in racial revenge pornography, is the paradox found within societies who practice inclusiveness and tolerance. A permissive, inclusive society provides the very ground upon which minority groups can rail and agitate against it, both without official action against their actions and with the support and approval of the more “self-flagellating” majority members. To a more rational actor, one might appreciate the permissive and inclusive nature of the Western nation. This fictional person would likely use the inclusive nature of our society to work towards other, more productive means, than to rail against the very society that has granted the ability to openly criticize and agitate against it. China and Japan certainly wouldn’t allow the widespread criticism and subversion of their respective cultures. I can’t imagine Israel, Iran, Saudi Arabia, Russia, Poland, Hungary, or others would allow this type of open “artistic” subversion. Why do we? What will be the end result of the erasure of White culture?