CNN Insists Blacks Will Protect You, Helpless Whitey

At first glance the video above might seem like a harmless public-service announcement, until you realize the info the pilot is telling you is so obvious that it is utterly useless (don't overpack for your flight, etc.)

There is obviously some intentional point being made here about the race of the pilot, because CNN would have had to do some digging to find a black one. (Blacks only make up about 2 percent of all commercial pilots.) So what's the real reason this non-story has been produced? This image of a black pilot underscores the main "public service" and "social engineering" message being conveyed here: Attention whitey, blacks are beneficent and good and giving and powerful. Your life is in their hands. Blacks protect you, helpless whitey.

Think I am exaggerating? Making something out of nothing? Observe the torturous blackworship spin that CNN manages to promulgate around this week's now-famous "situation room" photo.


See CNN's article HERE.

To most, Obama looks like he'd rather be anywhere but there in that room. More specifically, it looks like he's itching to get back out on the links. But the message-controllers at CNN use this image to herald giddily their new utopian age where blacks are at the helm, where "a black man becomes 'protector in chief'."

Of course, we have no problem with a rehabilitated image of black males per se, especially if that image fit a rehabilitated reality (which it currently fails to do). As it now stands, however, CNN projects a fantasy world and cannot admit that by and large blacks are a serious burden on white America, its civility, its economy.

When is CNN going to admit this burden. When will CNN do THAT story?

Oh, of course they never would. CNN is Anti-White.

Green Mile: "Magic Negro" on Steroids

I recently saw this horribly Anti-White film called Green Mile.

The black guy in this film, John Coffee, is the so-called "magic negro" on steroids.

Coffee is godlike in both appearance and effect. He towers above the frail looking white men throughout the film. But do not call this black man a supermasculine menial. No. He is a sensitive, childlike man. He is innocent. He is saintly.

And he is contrasted time and again with the evil, sniveling, corrupt, feminized whites.

Of course, when two little white girls are raped, Coffee gets the blame, because whitey is racist and evil. But Coffee is innocent. Coffee is perfect. How dare you blame Coffee, you evil white man? It turns out it was an evil, shifty-eyed, skinny, sniveling whitey who raped those girls, not the towering, hulking, herculean, wonderful, in-touch, cosmic, mystical, perfect black man. No. That will teach you never to blame blacks for crimes ever again. Blacks don't do crimes.

I have to wonder why whites don't protest movies like this when they are released. Instead whites pay good hard-earned money to bring their wives and girlfriends, to sit through this Anti-White propaganda-fest, to get "entertained" (i.e. indoctrinated) for the evening.

The makers of this film thought they were being Anti-Racist. What they are is Anti-White.

Anti-Racist is a code word for Anti-White.

Near To Hell

Here is classic Anti-White Media, the 2002 film Far From Heaven.

I saw this once (in a captive audience on a transatlantic flight) and nearly vomited - especially when I learned that it was nominated for an Oscar.

So...if you ever wanted to know what it takes to make an Academy Award-nominated film, the formula seems to be quite straightforward:

1) Take one mildly attractive white woman and in the context of a sun-dappled autumnal garden, have her run into a hulking black man who just happens also to be kind, caring, and intelligent. He also has his own business and a business degree! Canyoubelieveit?

2) Juxtapose the aforesaid flawless black man with images of a snivelling, cheating, emotionally unpredictable, homosexual white husband. Make sure the gayness of the white man is also closeted because he also needs to be depicted as conflicted and not in touch with his "inner nature."

3) Make sure the white husband is only filmed in dreary, dark, brooding, and confined spaces.

4) Make sure the white wife's encounters with the black man occur in sunlit gardens, fruitful blossom-bearing fields, art museums, and other wholesome and welcoming environments.

5) Make sure that, while the white husband "hates" art exhibits, the black man, on the contrary, goes to art exhibits with his daughter on his own initiative. He just loves "Modern" or "abstract" art, as he says. Make sure the black man corrects the white wife's pronunciation of a famous artist. But make sure he only does so in a tender way. Make sure the white wife cannot express in words her ideas about the art she's staring at, while the black says something profoundly thoughtful and eloquent, such as:

"[you've] confirmed something I have always wondered about modern art...That perhaps it's just picking up where religious art left off, somehow trying to show you...divinity. Modern art just pares it down to the basic elements of shape and color. But when you look at that Miró, you feel just the same."

6) Juxtapose this with a limp-dicked homo of a white man in a darkened room in which he strikes his own wife who tries to convince him the obvious untruth that he is "all man."

7) Now cut to the sun-dappled lawn where the natural, smiling, kind, humble, thoughtful black guy is attending to the neglected, unappreciated white wife.

8) Make sure that sometime shortly after the black man and white woman dance in a romantic embrace, the white man throws a hissy fit (again in a darkened, dreary room).

9) Make sure the black man’s black daughter gets attacked by three white guys who aren’t prosecuted for their crime.

10) Make sure the white man again weeps and sobs and confesses his unerring faggotry, after which the white woman then tries to track down her ultimate desire, the black man, perfect as he tenderly bids her a fond adieu through a departing train's steam. She should have left that queer limp-dicked white hubbie long ago.

Now show this film on transatlantic flights to your captive audience and you have instant Anti-white propaganda.

Black Man Rules in a Room of Pathetic Whites

Text: Ah, yes. The same old scenario: Black man, a commanding presence in the room at the head of a conference table, surrounded by sniveling and sycophantic whites. Ingeniously, "you" the viewer are in the meeting, and are being ridiculed by the assertive, infallible, and yet still likable presence of the black man, who even sticks up for the poor, pathetic, wimpy, loser white man who humiliatingly got coffee spilled all over him--by "you," apparently.

But it's ok, though this black man is so big and strong, with such a deep husky voice, he's compassionate. He'll let "you" off the hook. He's a gentle, magnanimous giant. And that, simply put, is why, in the world of this commercial, he rules, and you, as a white person, are as lowly as a pale squirming maggot.

Boycott: Syms

Submitted by: Sirrealpolitik