Skip to main content

Watch out, liberal extremities!

Watch out, liberal extremities!

websmith says:

“White people and an increasing number of minorities are tired of being called racists by the true racists and more appalled that this loony bleeding has spread from the heart to the brain."

This is what many progressives are going to have to get used to hearing -- that THEY are the true racists! I've said this before but '60's liberalism goes down when enough people have decided that, in sum, it was never truly about what minorities, impoverished people wanted/needed, but instead what certain AFFLUENT WHITE PEOPLE wanted to believe those they ostensibly spoke for wanted/needed. They (progressives) will be made to seem, not the most caring, but the most negligent, most truly self-serving. Of course, most democrats in power will not be too afflicted by this, because they're ready to turn on the ’60s too. Why? Because, sad to say, they're getting in mood to want to see the weak and needy set-up as punishment-worthy as well -- the punitive alters in their minds, which "argue" that weakness and neediness is "bad," set up in childhood (representing/embodying their parents’ castigations/norms) but which they've so long managed to beat back or keep cornered, are beginning to take over -- and to do that best the middle-american they used to (admittedly) take pleasure in disparaging must increasingly become actually what's right and pure in America. That is, they're all getting set to become middle-americans now.

So fear now Al Franken, fear now Michael Moore.

Link: What’s the matter with white people (Salon)


Popular posts from this blog

Superimposing another "fourth-wall" Deadpool

I'd like to superimpose the fourth-wall breaking Deadpool that I'd like to have seen in the movie. In my version, he'd break out of the action at some point to discuss with us the following:
1) He'd point out that all the trouble the movie goes to to ensure that the lead actress is never seen completely naked—no nipples shown—in this R-rated movie was done so that later when we suddenly see enough strippers' completely bared breasts that we feel that someone was making up for lost time, we feel that a special, strenuous effort has been made to keep her from a certain fate—one the R-rating would even seemed to have called for, necessitated, even, to properly feed the audience expecting something extra for the movie being more dependent on their ticket purchases. That is, protecting the lead actress was done to legitimize thinking of those left casually unprotected as different kinds of women—not as worthy, not as human.   

2) When Wade/Deadpool and Vanessa are excha…

"The Zookeeper's Wife" as historical romance

A Polish zoologist and his wife maintain a zoo which is utopia, realized. The people who work there are blissfully satisfied and happy. The caged animals aren't distraught but rather, very satisfied. These animals have been very well attended to, and have developed so healthily for it that they almost seem proud to display what is distinctively excellent about them for viewers to enjoy. But there is a shadow coming--Nazis! The Nazis literally blow apart much of this happy configuration. Many of the animals die. But the zookeeper's wife is a prize any Nazi officer would covet, and the Nazi's chief zoologist is interested in claiming her for his own. So if there can be some pretence that would allow for her and her husband to keep their zoo in piece rather than be destroyed for war supplies, he's willing to concede it.

The zookeeper and his wife want to try and use their zoo to house as many Jews as they can. They approach the stately quarters of Hitler's zoologist …

"Life" as political analogy, coming to you via Breitbart News

Immediately after seeing the film, I worked over whether or not the movie works as something the alt-right would produce to alienate us from the left. Mostly the film does work this way  -- as a sort of, de facto, Breitbart production -- I decided, though it's not entirely slam-dunk. There is no disparagement evident for the crew of the space station being a multicultural mix, for instance. Race is not invisible in the film; it feels conspicuous at times, like when the Japanese crew member is shown looking at his black wife on video conference; but the film maker, wherever he was actually raised, seems like someone who was a longtime habitat of a multicultural milieu, some place like London, and likes things that way. But the film cannot convince only as macabre relating to our current fascination with the possibility of life on Mars -- what it no doubt pretends to be doing -- because the idea of “threat” does not permeate this interest at all, whereas it absolutely saturates our …