This is a story straight out of Hollywood in Blackface.
The Green Lantern, which is a new Hollywood movie based on the 1940s comic book, is receiving some withering criticism by DWLs at The Christian Science Monitor who are objecting to the film because the superhero is a White male.
The movie is being denounced as “a white male power fantasy.” It is said to be “a troubling sign” that Hollywood is now making movies from drawn from an earlier era that featured less “diversity.”
Just listen to this:
“Hollywood often continues to use a white American male as its default lead character and assumes that viewers of all demographics will be able to identify with him,” says Amy Corbin, assistant professor of art and film studies at Muhlenberg College in Allentown, Penn.
The white male becomes the “universal” character who is supposedly compelling for everyone – while when women and people of color play the leads, those films are often assumed to be “niche” films that will only attract a viewing demographic that matches the lead character,” she adds via email.
“You’re telling me that in 2011, on a planet of some 7 billion people, the vast majority of whom are minority faces, that the best of the best is going to be a white guy from southern California,” says comic book expert Julian Chambliss, who teaches history at Rollins College in Winter Park, Florida.
This sends a troubling message, he says adding “there are many other figures they could have chosen to make a movie about, but this one is appealing much more strongly to the privileging of white, male American power than many others.”
“Before the sixties, comic books were largely aimed at young, white middle-American boys who had the disposable income to spend,” he says, adding, “but that began to change in the ‘60s and ‘70s, and they began adding black and Hispanic and female characters.”
In Black Run America, “anti-racism” is synonymous with being “anti-White.” As an actor, Ryan Reynolds is objectionable solely because he is White, and for no other reason. The relentless promotion of black people takes precedence over every other consideration.
No one here is claiming that Ryan Reynolds is a racist or a member of a “hate group.” On the contrary, DWLs argue that the advancement of “civil rights” in America now requires racial discrimination against Whites as Whites (i.e., racism), and the race conscious portrayal of African-Americans and Hispanics as superheroes.
One might be tempted to reply here: what about Will Smith who played Hancock? What about Samuel L. Jackson as Nick Fury in Ironman? What about Idris Elba being cast as the Nordic god Heimdall in Thor?
Not good enough.
If we are to “make progress” as a society, every Hollywood movie should be about manufacturing “black fictional images” and sending a politically correct racial message that White is, you know, just not happening in 2011.
In other words, every single movie you watch should be a non-White racial power fantasy about slighting and displacing White America. That is where we are today as a society. And if you call attention to this fact, you are labelled a “racist.”
White people are giving up on Black Run America. The economy is tanking. The media and federal government have no legitimacy. DWLs and African-Americans interpret “progress” as still more diversity promotion and wealth redistribution.
Like two tectonic plates slipping past each other, this is bound to produce a historical earthquake at some point down the road, as DWLs and African-Americans become more aggressive, and Whites grow more defensive.
Note: The long awaited review of Hollywood in Blackface is coming soon. As often happens, I got distracted by another book. I’m writing a book of my own which will be announced here soon.