About a year ago, I watched the movie “The Help”. Unsurprisingly, it turned out to be a heaping helping of anti-white propaganda. There is a scene in the movie where a black maid asks the white family she works for to loan her the money she needs; they say no, and the viewer is supposed to seethe with rage at the greedy white devils who have the audacity to refuse a loan to a black woman. The pinnacle of tragedy, however, occurs when that maid is arrested for stealing a ring from that white family and pawning it off. As a true testament to the infinite unfairness of the universe, director Tate Taylor attempts to strain the viewer’s heartstrings to an unbearable tension as he depicts a black woman actually being held accountable for stealing from whites.
The white-hating fun doesn’t end there. There’s a white woman in the film who is depicted as racist and rude. The film’s crowning moment occurs when one of the black maids gives this white woman a pie to eat, only to reveal after she’s eaten a bit that there is feces in the pie. That’s right, this movie wants to make it clear: if you are a white person who dares hold opinions that some black person could classify as “racist”, you deserve to be exposed to fatal diseases such as hepatitis, cholera, dysentery, and E. coli via eating food that, unbeknownst to you, that black person has laced with her own shit.
This trash, and the fact that it was well-received by whites, is disgusting enough. But what really takes the feces-laden cake is the fact that in social justice circles, this movie was criticized at large for being far too racist… against blacks. That’s right, this movie that advocated complete ethical inculpability in matters of blacks stealing from and feeding feces to white people, was not anti-white enough for the liking of the PC police. The problems? Black women were depicted in a position of servitude, and apparently accurately representing the past is un-PC now. A white woman is instrumental in helping the maids share their stories, and that’s “problematic” because in stories like these, it’s imperative that whites be evil only. Now all that viewer emotion that was supposed to be invested fully into pitying the black maids has to be divvied up with gratitude toward a white character. And the most egregious offense: the movie had a happy ending, therefore it was glossing everything over and grossly insensitive to the black struggle. Nothing less than the two black protagonists being executed Emmett Till-style by a screaming mob of white hicks would have satisfied the PC brigade here.
A good chunk of the criticism from the social justice sphere came from black women themselves, unsurprisingly. Like their street thug counterparts who know that their failings will be attributed to “society” rather than themselves, black women who fancy themselves as social justice warriors quickly become drunk on their exemption from accountability. They’ve found their niche in which they can do or say anything and get away with it, and that niche is the intellectual vacuum that is the social justice movement. They are used to having sniveling white feminists apologizing to them at every turn for no good reason, and with every undeserved apology, their insolence grows. It speaks for itself that these social justice negresses are accusing a movie that can be summarized as the magnum opus of anti-white filmmaking of not being anti-white enough. No white person should delude themselves into thinking that sentiments against their race as unyielding as these are anything but homicidal.