The problem with holidays like Thanksgiving is that they give White people the impression that nothing has really changed. Just like when we were young, there is a huge Thanksgiving dinner, football on TV, and family get-togethers. The only difference is that now it’s all followed by an orgy of shopping on Black Friday, which now often begins in the wee hours of Friday morning or even on Thursday.

So the average American sits around all day, adds a few pounds, and then marches off to buy cool stuff. Life goes on much as it has for decades.

And that’s the problem. Only around 30% of White males and 40% of White females support the current government in a country that was founded, built, and run by Whites until very recently. … But all that seems fairly irrelevant when you are celebrating Thanksgiving.

It’s like the Fourth of July: All those fireworks make a lot of White Americans think that they still live in the country they grew up in.

So there’s no sense of urgency because life for most of us is pretty much the way it has always been. There’s certainly some anxiety and anger about the election among Whites. In the back of their mind, there is worry that the multicultural future might not turn out as advertised. But all that is put on the back burner on holidays like Thanksgiving. Most Americans can hardly wait to get to the mall.

So I thought I would plug into Thanksgiving culture and watch some football. The usual commercials depicting Blacks and Whites as best friends. Whites as uncool, inept and stupid. Blacks as sexy and wise. Horrible food promoted by sexy blondes.

This has gotten to be a really ugly culture, completely divorced from reality, constantly attempting to reshape stereotypes that conflict with the envisioned multicultural utopia of the future.

A couple of movie commercials caught my eye: Lincoln is clearly a propaganda piece, depicting Lincoln (falsely) as mainly motivated to end slavery. (LewRockwell.com has made a cottage industry of puncturing the deification of Lincoln and the mendacity of this movie.

(Nevertheless, the abolitionist moral fervor so typical of White people [and only White people] was an important force during the period. Movies like this, as with much of the culture of critique, take advantage of the moral universalism so central to Western peoples in order to pursue contemporary political agendas. They are typically produced by activists who are hostile to the people and culture of the West.)

I am sure the movie merits a full review, but I rather doubt I could stomach it. The main purpose for the project in the current cultural environment is surely to induce yet more White guilt among all the earnest, morally sensitive and gullible White folks who will see it, aided and abetted by glowing reviews and hints of many Oscars to come. The folks who attend the movie can be sure that their positive reactions have been validated by the New York Times and other prestigious media.

Movies like Lincoln are thus mainly intended to further the cause of the suicide of White America—to be an object lesson on the necessity of multiculturalism and the moral imperative of the displacement and disempowerment of Whites.

Lots of Jewish involvement: Produced and directed by Jewish ethnic activist Stephen Spielberg (Schindler’s List; see also here), starring Daniel Day-Lewis (half Jewish), based on a biography of Lincoln by plagiarist Doris Kearns Goodwin (married to a Jew), screenplay by gay activist Tony Kushner, who says he decided not to portray Lincoln as gay. One doesn’t want to get too far out ahead of the cultural zeitgeist. Maybe in a few years.

Kushner is proud of bringing his Jewish sensibilities to the project. Wikipedia: “Kushner said Lincoln’s abolitionist ideals made him appealing to a Jewish writer, and although he felt Lincoln was Christian, he noted the president rarely quoted the New Testament and that his ‘thinking and his ethical deliberation seem very talmudic'”.

American history through Jewish eyes, as a morality play where Lincoln’s moral standing derives from his acceptance of Jewish values. I guess if Lincoln quoted the New Testament more, he could never have become an icon of multicultural virtue.

But of course, Kushner’s views on Jewish ethics are beautifully designed to achieve Jewish ethnic aims in the Diaspora. Nothing more. They have no basis in reality. Slavery is quite apparent in the Old Testament. The Jewish law on slavery, including very different treatment for Jewish and non-Jewish slaves (much to the detriment of the latter) is highly elaborated in the Talmud, Kushner’s favorite exemplar of the superiority of Jewish ethics.

The Palestinians are currently the most obvious victims of Jewish moral particularism, although the war in Iraq and the looming war with Iran must also be included in any assessment of the current state of Jewish ethics. And one must also mention the Jewish commitment to the slow motion, non-violent assault on the people and culture of the West which will, I fear, produce a far deadlier harvest in the long run than the ongoing horrors in the Middle East.

I also saw the trailer for Quentin Tarantino’s Django Unchained, scheduled to be released at Christmas by the Weinstein company. The basic plot is revenge by a Black slave against his former master. Tarantino says he wanted “to do movies that deal with America’s horrible past with slavery and stuff but do them like spaghetti westerns, not like big issue movies. I want to do them like they’re genre films, but they deal with everything that America has never dealt with because it’s ashamed of it, and other countries don’t really deal with because they don’t feel they have the right to.”

So we can be sure there will be more than enough White guilt to go around. Django Unchained sounds like a fitting followup to Inglourious Basterds, Tarantino’s attempt at creating a Jewish wet dream of revenge against Nazis:

Tarantino’s producer, Lawrence Bender, says that after reading the first draft of Inglourious Basterds, he told Tarantino, “As your producing partner, I thank you, and as a member of the Jewish tribe, I thank you, motherfucker, because this movie is a fucking Jewish wet dream.” Harvey and Bob Weinstein, the film’s executive producers, also reportedly enjoyed the film’s theme of Jewish revenge. (Jeffrey Goldberg, “Hollywood’s Jewish Avenger“)

Tarantino is part Cherokee Indian, and I recall reading somewhere that as a child he identified with the Indians against the cowboys in the movies. So he fits right in to Hollywood—a good example of the type of non-Jew who can rise to the top in the movies.

So Thanksgiving wasn’t so good. I am sure that Christmas will be worse.