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‘Confederate’: Save your ammo for the real battles ahead of us, snowflakes

I find it ironic that I recently wrote about what I called “the cultural war on white people” and that with the piece I used a graphic from “Game of Thrones” (specifically, the Night King, a blue-eyed devil who leads the “white walkers.”)

Because this past week’s tempest in a teapot was the fact that the creators of “Thrones” plan to create next an HBO television series called “Confederate,” which examines an alternate universe in which the South successfully seceded from the Union.

This would be no big fucking deal if we didn’t live in an era of smug, pearl-clutching outrage addicts, but we do, so it is.

So addicted to their self-righteous outrage are the snowflakes supposedly on the left that now they don’t hesitate to engage in attempted prior censorship — the dooming of a creation, of an expression, before it even has been substantially started by its creator or creators.

These aren’t true leftists, because true leftists value the freedom of expression.

“Confederate,” if and when completed, might suck ass. It might be corny. It might turn out to be tone-deaf, although I rather doubt that it will. I mean, “Game of Thrones” over the past several years has matured. Sex scenes apparently meant to appeal mostly to young heterosexual males have diminished with each passing year as the show has grown more serious, which includes the development of its female characters from sex objects to the show’s true leaders (heroines and villainesses and somewhere in between).

And despite criticisms apparently from those who haven’t seen the series, “Game of Thrones” is diverse. True, it’s set in a Medieval-like place and time and so you see a lot of white characters, but it has important black characters (but, if we’re keeping count, not any Asian characters that I can think of, and while the series has featured at least one Latino actor, it hasn’t had any explicitly Latino characters, since there is no Spain or Latin America in Westeros, the mythical land in which most of the series takes place).

But if “Game of Thrones” isn’t racially diverse enough for you, snowflake, well, go yell at George R.R. Martin, on whose series of books the television series is based.

But that said, no creator of a poem or a short story or a novel or a song or a television show or a film or of anything has to practice affirmative action in his or her creation.

We can and should argue for a diverse workplace and for the equality of opportunity in our society and in our daily lives, but artistic creations are something else. They exist in a special realm that needs to be protected, even from “harmless” snowflakes.

If you want to create something that features predominantly or only black people or Asian people or Latino people (or gay people or women or men or transgender people or…), knock yourself out; maybe your story or your movie or your song lyrics are focused on that group of people and you don’t want to drag a lot of other people into the mix just to make some snowflakes happy.

If you want to create something that features predominantly or even only white people — gasp! — you can do that, too, especially if the time and the place depicted in your creation warrant it.

And the “Thrones” co-creators seem to be well aware of what they’re getting into with “Confederate.” “Thrones” co-creator D.B. Weiss recently told Vulture:

… [I]t goes without saying slavery is the worst thing that ever happened in American history. It’s our original sin as a nation. And history doesn’t disappear. That sin is still with us in many ways.

“Confederate,” in all of our minds, will be an alternative-history show. It’s a science-fiction show. One of the strengths of science fiction is that it can show us how this history is still with us in a way no strictly realistic drama ever could, whether it were a historical drama or a contemporary drama.

It’s an ugly and a painful history, but we all think this is a reason to talk about it, not a reason to run from it. And this feels like a potentially valuable way to talk about it. …

Many black Americans say that they’re beyond sick and tired of the slavery theme. I can understand that; as a gay man, my entire life I’ve seen that in most movies gay male characters are acceptable only as flamboyant, easily identified, non-threatening nelly queens, as the deserved victims of violence (up to, of course, murder), and/or as the mentally ill perpetrators of violence (up to, of course, murder) and/or of other depraved crimes, and usually the only acceptable ending for them is to commit suicide, to be murdered or to die of AIDS.

You want a happy ending from time to time.

But the Civil War never ended. Look at “President” Pussygrabber, his Nazi elf of an attorney general from Alabama, his oily secretary of state from Texas and the rest of his Cabinet members who hail mostly from the South, and the map of the 2016 presidential election results:

Image result for map 2016 presidential election red blue

This is a valid, still very relevant topic, and “Confederate” would, I think, only further the discussion. And on board “Confederate” are the husband-and-wife television-writing team of Malcolm Spellman and Nichelle Tramble Spellman.

As Malcolm Spellman told Vulture:

… For me and Nichelle, it’s deeply personal because we are the offspring of this history. We deal with it directly and have for our entire lives. We deal with it in Hollywood, we deal with it in the real world when we’re dealing with friends and family members.

And I think Nichelle and I both felt a sense of urgency in trying to find a way to support a discussion that is percolating but isn’t happening enough. As people of color and minorities in general are starting to get a voice, I think there’s a duty to force this discussion. …

Nichelle Tramble Spellman said:

… I think what was interesting to all of us was that we were going to handle this show, and handle the content of the show, without using typical antebellum imagery. There is not going to be, you know, the big Gone With the Wind mansion. This is present day, or close to present day, and how the world would have evolved if the South had been successful seceding from the Union. And what was also exciting to me was the idea that in order to build this, we would have to rebuild world history …

Malcolm Spellman adds:

This is not a world in which the entire country is enslaved. Slavery is in one half of the country. And the North is the North. As Nichelle was saying, the imagery should be no whips and no plantations.

Read the entire Vulture interview with the four creators of “Confederate”; I think that it’s clear that, as “Thrones” co-creator David Benioff put it, “anyone who thinks that Malcolm and Nichelle are props have never met Malcolm and Nichelle,” and that, as the interviewer worded it, “Confederate” is not going to be “almost pornography or wish-fulfillment for white supremacists and the alt-right.”

If “Confederate” sucks for whatever reasons — if it’s artistically lame and/or it’s tone-deaf or even offensive to the reasonable members of its audience — then let it die deservedly in the marketplace of ideas, but let’s not kill it in the crib.

As Benioff said:

… [W]e haven’t written any scripts yet. We don’t have an outline yet. We don’t even have character names. So, everything is brand-new and nothing’s been written. I guess that’s what was a little bit surprising about some of the outrage. It’s just a little premature. You know, we might fuck it up. But we haven’t yet. …

Coming from the creative minds behind “Game of Thrones” and the Spellmans, I expect “Confederate” to be more like “Game of Thrones” in quality than like “The Man in the High Castle,” Amazon.com’s series that imagines that the Germans and the Japanese had won World War II and that I have tried twice to get into but just haven’t been able to, as it’s just not that good.

I hope that these what-if-history-had-turned-out-differently television series don’t proliferate too profusely, but I don’t recall Amazon.com being called anti-Semitic for having resurrected Hitler, so I think it’s incredibly bullshit for the creators of “Game of Thrones” to be called racist for planning to resurrect the South.

Pick your battles and save your ammo for the battles that matter, snowflakes. You’re only turning off far more potential allies than you are doing yourself any good by attacking popular culture that is enjoyed by millions of Americans — and that is not actually “racist” — such as Bill Maher’s show and the not-even-born-yet “Confederate.”

It’s pretty clear that you’re making it all about yourself and your supposedly easily hurt pwecious widdle feewings, and that’s not a winning strategy. Nor is prior censorship in a nation that has valued the freedom of expression since its inception.

Keep trying this bullshit; you’ll see.

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The cultural war on white people

Image result for white walker

So popular within the American culture is the war on white people that the blue-eyed devil is the biggest villain in the very popular HBO TV series “Game of Thrones.” Just sayin’.

That headline is intentionally provocative, but it’s not entirely hyperbole. Discussion of civil rights and racial equality and interracial relations has, over the past few years, increasingly become less and less about reconciliation with whites and more and more about the demonization of and revenge against whites.

And it’s ironic, because many if not most of those seeking revenge against whites are non-whites (mostly black Americans) who have not directly been touched by the worst of what white Americans perpetrated upon non-whites (mostly black Americans) throughout U.S. history. (I think that I have fairly privileged non-white college students in mind the most.) And many if not most of the demonized whites of today have not perpetrated the worst of what white Americans perpetrated upon non-whites throughout U.S. history; they were just born white.

A dream was deferred — and racial revenge has been deferred, too.

The popular message to whites today is that you’re evil because you were born white. You cannot escape your whiteness, and therefore you cannot escape your evil, you blue-eyed devil.

This message is contained in even just the title “Dear White People” — the title itself is so offensive (“Dear Black People” or “Dear Hispanic People” or “Dear Asian People” wouldn’t be OK, but “Dear White People” is perfectly OK, you see, because all white people are evil) that I haven’t been able to get into either the movie or the TV show of that name.

I did get all the way through “Get Out,” the black-paranoia suspense movie in which the central message very apparently is that every white person is an anti-black racist and that no white person can be trusted by any black person.*

I guess that the white actors who appeared in “Get Out” thought that they were being good guilty white liberals by participating in this movie whose central purpose apparently is to tell its primarily black audience that Yes, you’re right, every white person is evil and is out to get you, and, given enough time, will betray you eventually.

That’s such a healthy message.

And this message was “confirmed” in the fairly recent incident in which Bill Maher bizarrely and unfunnily referred to himself as “a house nigger” on his HBO politicocomedic talk show.

Maher was “outed” as just yet another secret white supremacist, you see — his having had many black guests on his show over the years, his $1 million donation to Barack Obama’s 2012 re-election campaign, and his black ex-girlfriends obviously all were just elaborate cover for his greatest love, which is, of course, to practice white supremacism — and so on his next show he had to undergo the obligatory flagellation (Bad white man! Baaad!). It was a fucking debacle.

As I have noted before, while white Americans were evenly split between Bernie Sanders and Billary Clinton in the Democratic Party primary elections and caucuses, what helped Billary win the nomination is that black Americans supported her over blue-eyed devil Bernie by a margin of three to one.

Ironically, the true blue-eyed devil was and remains Billary, but no matter.

And I expect Bernie to face anti-white (and anti-Semitic) sentiment from black voters again should he run for 2020. But we’re not even to talk about these facts, since they don’t fit the anti-white, only-whites-can-be-racist narrative that is so en vogue.

But could it be that treating a whole race of people like demons might actually induce some of them to act like demons, in a self-fulfilling prophecy? I mean, that has happened to some blacks due to the white demonization of them, has it not? Why wouldn’t it work in the opposite direction?

Lest you think that I’m going overboard here, there are these concluding paragraphs in Slate.com writer Jamelle Bouie’s piece on the recent KKK rally in Charlottesville, Virginia (to protest the removal of Confederate “hero” statues):

… But while the Klan is a faded image of itself, white supremacy is still a potent ideology. In August, another group of white supremacists — led by white nationalist Richard Spencer and his local allies — will descend on Charlottesville to hold another protest.

Unlike the Loyal White Knights, they won’t have hoods and costumes; they’ll wear suits and khakis. They’ll smile for the cameras and explain their positions in media-friendly language. They will look normal — they might even be confident. After all, in the last year, their movement has been on the upswing, fueled by a larger politics of white grievance that swept a demagogue into office.

The Klan, as represented by the men and women who came to Charlottesville, is easy to oppose. They are the archetype of racism, the specter that almost every American can condemn.

The real challenge is the less visible bigotry, the genteel racism that cloaks itself in respectability and speaks in code, offering itself as just another “perspective.”

Charlottesville will likely mobilize against Spencer and his group, but the racism he represents will remain, a part of this community and most others across the United States. How does one respond to that? What does one do about that?

I’ve been reading Bouie for years now, I believe it has been, and for the most part his discussions on racism and race relations have been fair, balanced and insightful, which you often don’t find in the discussion.

But the spirit of the paragraphs above is disturbing. Its message is that no white person can be trusted; we can’t go by the type of clothing anymore, so we can only go on the color of the person’s skin. Indeed, Bouie’s sentiment above mirrors the central thesis of “Get Out”: “The real challenge is the less visible bigotry, the genteel racism that cloaks itself in respectability and speaks in code, offering itself as just another ‘perspective.’ … What does one do about that?”

Indeed, if every white person probably is the enemy, what do you do?

Apparently the only hope that a white person has these days to get acceptance from non-whites, especially blacks, is to denounce his or her entire evil race in the strongest terms possible and to state strong agreement with every word stated by non-whites. But even that isn’t enough, you see, because the denunciations of one’s own evil, white race and the claims of sympathy and empathy with the non-white probably aren’t sincere. They’re probably just a cover-up for the blue-eyed devil’s true, inborn evil.

We cannot continue to “function” this way, not if we ever want interracial reconciliation. But therein lies the rub: Many (if not most) non-whites (blacks especially, very apparently) don’t want interracial reconciliation, because their entire identity is wrapped up in being a perpetual victim of the blue-eyed devil. (Often, even their income depends on it.) This victimization (real or fabricated) must continue for their identity (and, sometimes, their income) to remain intact, so they continually will find “proof” of this victimization whether it even exists or not.

I surmise that Bouie asked his concluding question (“What does one do about that?”) rhetorically, but I’ll answer it anyway:

You don’t worry about what other people think of you, as you have no control over that, for the very most part. You do, however, become concerned if anyone’s bigotry or hatred translates into words or actions that are meant to harm you.

As a gay man, I know that there are plenty of heterosexuals out there who claim to support equal human and civil rights for us non-heterosexuals but who actually are quite homophobic. Since we’re on the subject, I’ll add that more white Americans (64 percent) than black Americans (51 percent) support same-sex marriage (which to me is a pretty good litmus test for homophobia), so, it seems to me, a black stranger that I come into contact with is more likely to be homophobic than is a white stranger.

And as a white man I never know, when I approach, for the first time, a non-white person (perhaps especially a black person, given the ugly history between the two races in the U.S.) whether or not he or she hates whitey or whether he or she is willing to give me a chance (I do, after all, have blue eyes…).

But I don’t lose sleep over whether or not someone is an anti-white racist and/or a homophobe. Ignorance, bigotry and hatred would be and would remain that person’s problem — until and unless he or she committed a word (such as “faggot,” which black boxer Floyd Mayweather shouted at white boxer Conor McGregor on Friday**) or words and/or a deed or deeds that made it my problem.

I’d give that same advice to Jamelle Bouie and to every other black person with whom I can be an ally as long as he or she doesn’t have an intractable “Get Out”-style perception of me, just waiting until I finally, inevitably demonstrate my “true colors” (because I have, you know, just traded my pointy white hood for khakis).

P.S. I have been following “Game of Thrones” for years now and await tonight’s season-seven premiere, but the fact that the show’s biggest baddies are blue-eyed “white walkers” — the symbolism of that — hasn’t been lost on me…

*The movie has its fatal flaws, of course, such as the central plot contradiction that anti-black white supremacists want their brains transferred into the bodies of black people.

Of course, contained within that contradiction actually is black supremacism — the idea/belief that it’s actually better to possess a black body than a white body, because if it weren’t, then why would these racist whiteys steal black bodies to inhabit?

Of course, plot contradictions in “Get Out” are to be pushed aside, because, again, its central, apparently-very-appealing-to-some message (aside from black supremacism, ironically) is that every white person is out to get every black person.

**To be fair and balanced, Conor McGregor, very apparently no towering genius himself, has made anti-black racist comments, but, to my knowledge, McGregor isn’t gay, and so when Mayweather hurled the epithet “faggot” at him, those of us who actually are “faggots” were just collateral damage, you see, and I don’t believe that Mayweather’s homophobia is at all uncommon among black Americans, who routinely hypocritically claim that ignorance, bigotry and hatred always belong to someone else.

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