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Blotting Out White ‘Representation’

If “Wakanda” didn’t exist, we might have to invent it. Who would be so foolish as to take a fictional black ethnostate as a model for our owncities, when those with large black populations are plagued with crime and filth? And yet:

That’s the wrong way to look at it. It’s progressives who have to invent a fictional universe to explain their real-world failures.

Let’s consider CNN’s idea to use Wakanda for civic planning. Author Chris Cillizza argues that Wakanda is carless, with efficient mass transportation. This, he says, should lead us to consider walking, biking, and mass transit.

That vision of our cities does not comport with what our cities currently look like. Not close. And that’s in large part due to the fact that most of our modern cities were built around cars, not people. (You’ll notice there aren’t cars in Wakanda.)

And that is a development that occurred after World War II. Our dense urban centers began to empty out as people chased the dream of a yard and a white picket fence in the newly created suburbs. People need a way to get from their city jobs to their new houses in the suburbs. And the growth of factories to meet war demand meant that cars could be mass-produced both quickly and cheaply.

Why did “dense urban centers” empty out after World War II? Why did people suddenly want to live in the suburbs?

In 1948, the Supreme Court ruled against “restrictive covenants” in Shelley v. Kraemer. This prevented white neighborhoods from staying white. In 1954, the Supreme Court ruled against segregated schools in Brown v. Board of Education. Courts ordered “forced busing,” often against the opposition of parents and children. The options were expensive private schools, homeschooling, or moving away. Entire neighborhoods were gutted.

Christopher Caldwell argues in The Age of Entitlement: America Since the Sixties that the Civil Rights Act of 1964 established a “rival Constitution, with which the original one was frequently incompatible — and the incompatibility would worsen as the civil rights regime was built out.” Freedom of association and the freedom to use your own property the way you want were abolished. Any private transaction, if handled incorrectly, could open you up to a civil rights charge. Just ask the Christian baker Jack Phillips, who is again being sued for refusing to bake a cake celebrating “transgenderism.”

Integration does not single-handedly explain the growth of suburbs. However, the reason mass transportation, infrastructure, and public safety are worse in many cities than they were a century ago is because, demographically, they are more like Wakanda.

Mr. Cillizza praises the bike lanes in Europe, but several American cities have bike-sharing plans. In San Francisco, people keep stealing the bikes and the activist solution is not to call the police. In Baltimore, the city abandoned sharing after so many bikes were stolen or wrecked. Sharing works only in high-trust societies, and diversity destroys trust, even within races, not just between them. Thus, even small-scale ideas such as using bikes in cities make more sense in fantastic realms than in American cities.

The same is true of mass transit. This tweet was popular:

What could be the difference between Seoul and American cities? Savage, “random” attacks against riders on the New York City subways arebarelynewsworthyanymore. The District of Columbia’s mass transit system is one of the better ones in the United States, and that’s not saying much. The staff is disproportionately black and so is the crime. Even paying a fare is too much to ask for many.

If one judges a country by the state of its mass transit, ours is an embarrassment. In 2019, Wired praised the former Soviet Union’s “gorgeous” subways compared to the “dank, pee-doused tunnels you find beneath New York or San Francisco.” What makes ours that way?

As reality becomes worse, fantasy becomes more fantastic. In fictional works that draw on European mythology, entertainment companies increasingly shove in incongruous, impossible non-whites in the name of “representation.” At the same time, there’s no white equivalent to Wakanda either in sci-fi or fantasy. Whites who want to see a positive “representation” of themselves look to the past, and even that is a battleground.

Peter Jackson’s Lord of the Rings trilogy was a brilliant success, but some accused it of being racist, notably the Southern Poverty Law Center. Amazon’s new The Rings of Power, set in J.R.R. Tolkein’s Middle-Earth, made a point of having a racially diverse cast. That makes no sense in Tolkein’s painstakingly detailed world. Instead, it seemed like a deliberatemarketing scam, a way to pick a fight with Tolkein fans, start an artificial controversy, and call critics “trolls.” The cast, the cast of the original films, and various journalists faultedthefans for not liking Rings of Power enough.

Credit: New Line Cinema / Warner Bros. Television / Amazon Studios / Album

Amazon and the actors seem to think they are daring. Instead, they’ve created a series with a limited audience and bad reviews. (Amazon had to ban fan reviews because they were so hostile.) The showrunners are so dedicated to political orthodoxy they forgot to write a good story.

Black actor Sir Lenny Henry says, “I’m a black hobbit, it’s brilliant.” Does switching the race of a character make it brilliant? No. It only makes mediocrity easier to defend. In another interview, he said that in the 21st century, people want to “see themselves” and so there must be more racial diversity. He dismissed the original story because “that was then, this is now, and we’re telling the story now.”

Journalists themselves can’t seem to decide whether Tolkien would be on their side, insulting the “trolls,” or whether he was a racist. Influential fantasy author Michael Moorcock argued that Tolkien was a “crypto-fascist,” but the President of the United States says MAGA Republicans are “semi-fascist.” Like Churchill, Tolkien may be just another racist. Either way, his intentions don’t matter.

Sophia Nomvete (a black female dwarf) says her character “is the face of a necessary redress of balance” in the industry. “For new generations this is their version of Tolkien, this is what my daughter will see of Tolkien’s work,” she said, going on to brag that she’s “the poster child” who will “fly the flag.” Like The Great Replacement, you don’t need to argue whether something is happening or not when the perpetrators tell you it is.

Something is lost when corporate slop replaces a story deeply rooted in Northern European mythology. Future audiences will see the forgettable Amazon product as Tolkien. Whites won’t feel any special connection to it. It certainly won’t inspire people like the authentic Tolkien inspired, forexample, Italy’s new prime minister Geogia Meloni. Dedicated fans who want to share their love with the world end up being scorned by the new owners who proclaim that it’s their story now.

Source: Anonymous.

Even George R.R. Martin’s works that were designed to undermine classical ideals about fantasy and myth were too white for modern television. House of the Dragon, a prequel to Game of Thrones, cast a black actor to play a lord from a ruling class. In Marvel’sThor series, Idris Elba dismissed critics who said it was unrealistic for a black man to play Heimdall.

It’s true that in fantasy, anything is possible. However, it’s offensive to break the rules of even an imagined world. It’s not daring storytelling to have a white guy suddenly take over Wakanda or to have a wizard show up with an M-16 in Harry Potter. When non-whites are put into white settings that undermine them, it’s hard not just to see it as a quota, an ethnic giveaway, a cost of doing business — and a deliberate insult to white people.

Rule-breaking never goes both ways. Non-whites jealously defend against outsiders. Only whites can be guilty of “cultural appropriation,” and some even want to make it illegal. Many non-whites want to dictate what whites can and cannot say or where they can and cannot be. They also demand access to everything white. The double standards are so blatant, it’s almost impossible not to laugh at the claim there is “just one race, the human race.”

Vikings: Valhalla showcases a black jarl of Kattegat during the late Viking Age. Actress Caroline Henderson said being black helped her “relate” and that “there might have been a black Jarl Haakon or a Russian Jarl Haakon or somebody from Asia or Native American, most likely.” Of course, there is outrage when Cleopatra, the product of an inbred Macedonian ruling dynasty, is cast as a white woman, which the historical Cleopatra almost certainly was.

European history now belongs to the world, a product for the global marketplace. The effect is to write whites out of their own history, and thus any claim on what we own today. Other peoples’ histories belong to them exclusively.

The farther we get from World War II, the more shows and games feature the Nazis winning World War II or having found haven in America. Oddly enough, the “dystopian” future is more efficient and technologically advanced than the present.

Video games such as Wolfenstein II show a bizarre but advanced German-dominated America. In BioShock: Infinite, the player takes down an idealized “Columbia” that flies through the air with architecture reminiscent of the 1893 Chicago World’s Fair, the “Columbian Exposition.” It looks beautiful, but it’s racist so it needs to go down.

In Amazon’s The Man in the High Castle, the America subjugated by the Third Reich seems clean, efficient, and advanced. One of the story’s main characters, Obergruppenführer John Smith, may be one of the few white fathers in a modern television program who loves his family and acts like a responsible patriarch. Of course, linking such behavior to Nazism may be deliberate. It may be the logical conclusion of the Frankfurt SchoolCritical Theorists’ attempt to recast normal fatherhood as “the authoritarian personality” and tie it to fascism. Figures including J. Edgar Hoover and George Lincoln Rockwell collaborating with the regime instruct the viewer that the true threat of Nazism is always within.

Not one, but two Iron Sky movies feature Nazis with space technology invading the world from space bases or inside the earth. The television show Hunters, starring Al Pacino, shows a heroic team of vigilantes killing Nazis who escaped to America.

Amazon’s popular series The Boys makes a symbolic link between the Third Reich and America. The antihero “Homelander,” a parody of what leftists think is American conservatism, is the direct product of Nazi eugenics experiments, smuggled to the United States by a Werner von Braun-type figure.

In all these cases, there’s a bizarre juxtaposition between utopia and dystopia. The evil authoritarian regimes are more advanced than our own world, with space travel, breathtaking cities, and “superhuman” technology. It’s implied that in real life we mustn’t do these things because equality comes first. It’s a variant of the argument that the moon landing was a moral failure, because we still have poor black people. Just last year, Gil Scott-Heron’s poem complaining that “Whitey [is] on the Moon,” while “I can’t pay no doctor bill” was popular on social media.

The one exception from the theme of high-tech dystopia may be the theocratic Republic of Gilead from The Handmaid’s Tale. This Christian government may be something author Margaret Atwood and excitable feminists think plausible (or secretly long for). However, it is utterly unrealistic in the America that seems determined to push transgenderism on children in America and the world.

Only Nazis, it seems, can give us a well-ordered high-tech future. Without them, we get Blade Runner and Mad Max.

It’s important not to read motive into our opponents’ actions. However, blunt declarations of scorn and hatred for whites are acceptable. If racism is the worst sin in post-Christian America, and you can’t be racist against whites by definition, all is permitted.

It’s not surprising that young whites feel ashamed just for existing. They rarely see themselves “represented” positively. Their rulers have stripped their high culture, tradition, and identity from them, either ignoring it, canceling it, or turning it into the property of others. It’s not surprising some mentally broken whites want to be black, trans, or anything but white. However “flight from white” is dangerous. Just ask Rachel Dolezal.

Some might say that Tucker Carlson’s recent monologue on the “genocidal talk” directed against whites is exaggerated, but men of the cloth and commerce both feel comfortable urging The Great Replacement. Powerful voices in media suggest that opposing replacement, even in mild ways, is a danger to democracy, and a threat to the state. Horrific murders against our children go largely unnoticed by our rulers, while criminals and thugs become the system’s new martyrs.

The treatment of whites in culture also shows that “whiteness” itself has become the villain. We live in a “meta” culture, so consumed by media that it’s hard not to speak as if we were characters in a drama. Real life increasingly lends itself to scenes that we recognize from shows and video games, which have become powerful tools that program their audiences and teach them moral values. We all know the way this movie is going to end for whites. We are getting previews in Zimbabwe and South Africa. Tucker Carlson may be a bit early, but not by much.

What’s the solution? The internet has been a mixed blessing. It has allowed the system to consolidate control and intensify its propaganda. However, it has also let activists communicate with each other and build online communities that can lead to real-world results.

The Alt-Right’s unity of purpose has been shattered, but the number of activists has increased. Our arguments are more mainstream than they were during the Trump Administration.

Though divided, everyone including America First activists, grassroots conservatives, “Dissident Right” commentators, the National Justice Party, the American Freedom Party, independent content creators, and countless others who may have little in common can at least recognize two truths. First, the system is anti-white. Second, it can no longer govern effectively. Our rulers’ revenge fantasies against whites, dreams of non-white utopias, or demands for crackdowns against enemies of “Our Democracy” reflect the nihilism of the Left — 50 years after the Civil Rights movement. Equality is a myth, equity is fantasy, and resentment seems to be all that remains.

Our solution should be bold. Dreams are important, and while fantasy can be used to sell a lie, a true mythos can inspire people to pursue a greater truth and heroic action. Georges Sorel spoke of “redemptive myths” that lead people to sacrifice and work in pursuit of an ideal that seems great yet achievable. For Sorel, it was socialism achieved with the “general strike.” For whites, it should be the Myth of the Western Civilization-State, which will ensure the physical survival of whites, the cultural legacy of our past, and the development of our race. We can unite behind that goal and deal with what divides us later. Whites throughout the West have been contemptibly betrayed. The desperation of our rulers’ propaganda may reflect an inner fear that they know it themselves. Ordinary whites want a more optimistic message and a more constructive dream.

Our future doesn’t lie in the ruined disasters of America’s once-great cities. It lies in what we will build in their place. Whites, especially young whites, need to “see themselves represented” heroically and victoriously, not as villains, weaklings, or victims. The myths of our past are being turned into cheap products. However, I think that’s because the next great mythic cycle of our people is about to begin. I would rather choose life in this time than in the complacent days when progress seemed certain. Today, everything is possible. Remember, if defeat were inevitable, they wouldn’t need propaganda.