A lot of the drama of this blog entry's title would be robbed if it were subtitled 'Same-O, Same-O,' although this would make the film no less scurrilous. As whites who are not paralyzed by racial guilt, who appreciate their own families and kinsmen, are well aware, pointing these things out about Hollywood films is like remarking that the sun rises in the east and sets in the west, since almost everything that comes out of Hollywood has this same anti-white message, of course with slight variations.
No point in going through it all chapter and verse, but a half-dozen main points:
(1) In 'The Hunger Games' what has been called the 'Magic Negro' pops out of the woodwork at just about every important juncture to comfort or to save the life of the innocent white heroine;
(2) The evil "pack" of Tributes, gleefully killing as many of the others as possible, laughing when they beg for mercy, etc, are obviously Nordic types, mostly with blond hair, although there is one particularly vicious white brunette who otherwise looks like your basic high school cheerleader;
(3) At the top of the pyramid of this evil dystopia we have--anyone care to guess?--of course, The Man, or the supremely bad, bad, and did I mention bad, white guy, an older model of the many copies we saw trying to kill the Keanu Reeves character in 'The Matrix,' Reeves seemingly dedicated to saving a teeming populous of almost all nonwhites from white evil;
(4) A timeout here to ask: Is this blog entry just an example of unreasoned fear, resentment and anger, the overactive imagination of 'an angry white male'? Well, I don't feel particularly emotional. What good would that do anyway? But if the casting for this film were simply the result of the right actors getting the right parts, regardless of race, why do all movies and television shows racially break down this exact same way? By watching countless such films, a young impressionable white kid would assume that black people basically see it as their mission in life to be their perfect mentors, bosses, brilliant save-the-day scientists, best friends, protectors, advisers, sidekicks, partners that will sacrifice themselves to 'watch your back', etc, etc. And yet, for example, vastly disproportionate black-on-white violent crime statistics would indicate that in real life things are quite often just the opposite. So aren't these films really brainwashing trusting sheltered white kids, often residing with their liberal parents in nearly all-white neighborhoods, setting them up to get their teeth kicked in and wallets stolen (or worse)?
(5) But probably the biggest propaganda lie of all in these futuristic science-fantasy films, set countless years in the future, is that there will even BE a white majority to continue its evil ways. Rapidly changing demographics--in large part brought to you by the same Hollywood-owning ethnic community that was key in helping to push through the open-borders policies that began in earnest in 1965--will mean an end to white majorities in all traditionally majority-white nations, and eventually an end to whites themselves, in broad historical time spans, in the blink of an eye (some time check out the violent crime news in South Africa).
(6) Finally, obviously Hollywood liberals do not really see blacks as their equals or they would need to pamper and patronize blacks by always presenting them in this idealized way.
(6) Finally, obviously Hollywood liberals do not really see blacks as their equals or they would need to pamper and patronize blacks by always presenting them in this idealized way.
Note: Probably the best account of how we arrived at the current dystopian 2013 can be found in Kevin MacDonald's 'The Culture of Critique.'
On 'The Hunger Games' more generally:
Needless to say, wiki would not agree with the above assessment.
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