Essays

Fade to Black

The darkening of our screens and its part in the theft of our past and our future

by Jack Antonio

YOU FLY into London on a British Airways plane on which you are shown an animated film about safety. It stars a cartoon Black man with his cartoon White wife and their cartoon mixed-race child. You pass through immigration control and are poked and probed by Brown people wearing hijabs and turbans who jabber at you in an unintelligible version of the English language. Heading for the tube you pass a poster that shows a Black woman dressed in Elizabethan garb beckoning you to the Globe Theatre. On the ride into town you see posters for the latest West End plays. There are productions of Shakespeare’s Richard II and Henry V starring Black women in the title roles. (The critics rave that these classic plays finally make sense.) There is also an Asian actor playing David Copperfield and Christmas pantos starring Blacks and Asians as Cinderella, Dick Whittington, and Snow White. Next to the entertainment ads are those for mortgages and mattresses all featuring Black men with White women. And, they are almost always blonde women.

You get home, put your feet up in front of the TV and notice that there are an unusually large number of Brown people on the streets of Victorian London as depicted in the BBC’s latest version of A Christmas Carol. And the villages of Midsomer are teeming with more people-of-color than your local benefits office. Even Doctor Who is suddenly a Black woman! You channel surf and are confronted by Black vikings, Black centurions, Black Tudors and an Asian King Arthur! The news is read by a Brown person. The weather is given to you by a Brown person. Your favorite gardening program is presented by a Brown person. The Brown person presenting your favorite wildlife program explains without a trace of irony the danger of extinction faced by native fauna and flora due to the invasion of alien species.

A typical example of the “colour-blind” casting was the 1997 Disney adaptation of Cinderella — in which a negress Queen (played by Whoopi Goldberg) — and a White king somehow managed to have a Filipino son, who ends up married to a negress Cinderella.

In disgust, you turn off your TV and browse through the latest brochure from the National Trust. But something is odd — most of the people shown wandering around the stately homes of England are Brown. The mothers of the large, happy families in the photos wear Muslim or Hindu garb. The only White faces are those of blonde women holding hands with Black men and their mixed-race children.

Meanwhile, your teenage son is in his room playing a new computer game set in World War I. But, in this version of the Great War, the trenches look like a Saturday night in Brixton and the game’s logo is the face of a Black Tommy. You wonder if you have slipped into an alternate universe or are dreaming. But you aren’t dreaming. You are living through a waking nightmare. And I can tell you why.

I’ve been a professional actor for fifty years. I’m also a proud member of that most despised of all groups — old White men. I’m not a star or even a semi-name but you have probably seen and heard me many times. I know the world of advertising and show business. And I know how, why, and by whom our screens are being darkened, I am being denied work, and our past and future are being stolen from us.

The answer is BAME. It stands for “Black, Asian, or Mixed Ethnicity.” And that acronym is now an essential part of every media company’s ethos. When a “brand” is hiring actors for a commercial or a production company is hiring actors for a play, movie, or TV program, they proudly trumpet the fact that they prefer to see or will only see performers who are BAME. (Imagine what would happen if someone advertised with a preference for White actors and actresses.)

The Cultural Marxist octopus has many tentacles and has been at work in all the arts for many decades. As a child in 1950s America, I saw early attempts at “color-blind” casting. But, in the 1960s, the prominent New York theatrical producer Joseph Papp started pushing non-Whites big time in his Shakespearean productions in Central Park. (You will not be surprised to learn that Papp was a Jew.) I suffered through many productions of Romeo and Juliet with a Black Romeo and a White Juliet. Or a Black Macbeth and White Lady Macbeth. The audience “wasn’t supposed to notice” these racial absurdities and anyone who did was a “racist.” So, most people pretended not to notice — and they still do.

Oriental audiences are more forthright in their opinions. They want White heroes. Star Wars films that feature Black actors flop in China — a very important film market. So, the Star Wars producers avoid putting Black faces on the film posters. And, the latest Star Wars had to remove a “gay” kiss to make it acceptable to Orientals who want their heroes straight, too.

We Occidentals feel the same, even if most won’t admit it. We vote in private with our money. The producer of the mega-successful comic-book “cape hero” film franchise let slip at a convention that movies and action figures based on non-White characters don’t sell — worldwide. The sale of dolls, clothing and mugs, etc. is a major part of the profit stream for any film or animation. It is a racially revealing economic fact that Black Barbie and Ken dolls don’t sell — even to Black kids. “Gay” and trannie Barbies and Kens also gather dust on store shelves. White heterosexuality is the go-to choice for everyone.

But, shouting “commercial considerations be damned”, the Cultural Marxists have doubled down in Britain and are putting propaganda ahead of profit. The British Film Institute (BFI), which bestows crucial funding to film projects, fell into the tentacles of one Josh Berger, an American Jew with a long Hollywood history. Under Berger’s malevolent influence the BFI has mandated higher levels of BAME. Any production that does not meet the set levels will be denied funding and thus any chance of distribution or awards. It will be dead. So, producers genuflect to globohomo and grind out the anti-White, anti-heterosexual, anti-Christian propaganda that pollutes our screens. Adding insult to injury, we are paying for this filth because the majority of the BFI’s money comes from the UK taxpayer!

The levels of “race and gender-blind” [LOL — Ed.] casting mandated include:

• At least one lead character must be non-White
• 50-50 male-female ratio in entire cast
• At least 20% of cast must be non-White
• At least 10% must be LGBTQ
• At least 7% disabled
• A large proportion of plot lines and filming locations must be set among underrepresented groups.

With those parameters in mind, try writing a film that should by natural law, reason, and historical fact be set in a White, male world. How can you fit that many women, homos, lesbians, trannies, Hindus, Muslims, Sikhs, Blacks, and crippled, cis-phobic, bi-curious Eskimos into a Lancaster bomber, a monastery, or the Alamo? And, I wonder if these same race and gender targets will apply if an all-Black film company sought funding for a movie set in a lesbian bathhouse in Somalia? Would the screenwriter have to find a way to squeeze White, Christian, hetero males into the steam room?

We aren’t being betrayed by the BFI alone. The British Academy of Film and Television Arts which bestows the prestigious BAFTA awards is equally on-board the globohomo express though it is (small comfort) privately funded. Still, if you want to win a BAFTA you must bow down to the Cultural Marxists who run that outfit.

And British Equity (the actors’ union) promotes and protects every race but White. It cares nothing for the race that only created theatre, film, television, radio, the Internet, and trade unions! It promotes and protects every sexual persuasion but heterosexuality. My union dues are currently paying for a campaign to ensure that “trans” actors get to audition for roles of any gender including those of the gender they claim to have left. Meanwhile, I can’t get an audition to play an old White guy because it’s being played by a Black female-to-male trannie!

The BBC admitted that its “race-blind” casting of period dramas is not historically accurate but feels it is important to do it in the interests of cultural cohesion. Well… if this BAME business is not part of an anti-White agenda but just a well-intentioned attempt to make us all race- and “gender”-blind then when do I get to play Martin Luther King or Winnie Mandela?

Meanwhile, for all their disingenuous calls for race-blindness, Black performers insist on race-based preferential treatment and love “acting Black” — especially in period dramas. Notice how Black actors in plays by Shaw, Ibsen, or Wilde will use a ghetto pose and vocal inflection to get a cheap laugh. They are Black to their bones and they know it and are happy to play the minstrel if it’s to their advantage.

At this point a few questions come to mind. If non-Whites were important personages in what we thought had been a White world then what the hell are they complaining about? If Blacks really “wuz kangz” as the Black Israelites proclaim (including kangz of England) then where was the discrimination? And, if Blacks were capable of achieving so much back-in-the-day, then what the heck happened? Did they simply forget how to be physicians, scientists, architects, engineers and, yes, kangz?

Remember those National Trust (NT) brochures full of photos of happy smiling Brown people? They are a staged hoax. The National Trust advertised on casting sites all over Britain for BAME models and actors to pose as visitors and staff at stately homes. But, in reality, if you visit NT properties you will see that with rare exception they are delightfully White in both staff and visitors. Still this hasn’t stopped the NT management from pushing globohomo. They “out” and promote queer members of the families that owned the properties. And they suggest that bent Uncle Bertie was the best of the bunch. The NT even tried to force its volunteers to wear rainbow flags but most refused. Meanwhile, when I speak privately with older NT volunteers, I find they have fond memories of Enoch Powell and Oswald Mosley.

I have starred in many TV commercials for top brands that were broadcast worldwide. I assure you that it isn’t merely fashion or whim that matches so many Black men with White women. In a thirty second commercial every second counts and nothing appears on screen by chance. I have seen directors, clients and cameramen almost come to blows in arguments over the color of my shirt. How much more debate has gone into the color of the actor’s skin? So, these racial pairings are not accidental but are blatant attempts to break down the resistance to race-mixing from all races. Listen to Black talk radio programs and you will hear Black women weep that Black men are encouraged to get blondes. In fact, Black nationalists (our mirror image and possible allies) believe that race-mixing is the ultimate sin. And we know what happens to Asian girls who race-mix. But, as with films, the Cultural Marxists don’t give a damn and plow on, sacrificing profits for propaganda.

Case in point: Gillette recently ran an anti-male ad campaign that suggested all men (especially White men) are sex-pests. White men were outraged. This campaign culminated in an ad in which a Black father showed his daughter who had “transitioned to male” how to shave. This time Black men were outraged. This PC campaign cost Gillette a record amount of profit. But its CEO said it was worth it to promote “diversity.”

Alongside the tribe that foments and feasts off our replacement lives an opportunistic parasite — the Black “race hustler.” The uber-obnoxious Whoopi Goldberg is a master of this scam. And, despite being as funny as a fire in an orphanage, Whoopi has made a fortune playing the fat, sassy soul-sista who is the repository of all wisdom. (Sort of an X-rated version of Mammy in Gone with the Wind or a potty-mouthed Aunt Jemima.) You’ll notice that this smart, sassy maid stereotype is a staple of sitcoms. She is always the smartest person in the house she cleans. She’s certainly smarter than the doofus White dad who is the butt of all her jokes. (There is literally a genre of US sitcom called “Doofus Dad.”)

Believing her own BS, Goldberg has morphed into a political pundit. She holds forth daily on US TV on all manner of subjects while injecting the race card into all of them — no matter how misplaced. She gets away with this because Whites are afraid of challenging her lest they be called “racist.” Believe me, if you think Jews are good at squeezing the “Holocaust” into any discussion, you ain’t seen nuthin’ till you see Whoopi at work. (We have the Jewish director Mike Nichols to thank for Goldberg’s rise to fame.)

Another race-hustler is Bonnie Greer, a smug, American Negress based in the UK and a poor man’s Goldberg. Greer is a regular on BBC political chat programs where she is introduced as a “noted American playwright.” But I challenge anyone on either side of the pond to name a single Bonnie Greer play. In fact, in America she is entirely unknown. The woman is a fraud. And, like Whoopi, she benefits from Whites’ reticence to call her out. Meanwhile, the BBC loves wheeling her out because it allows them to tick certain boxes on their diversity chart. Foreigner. Female. Black. Greer’s many appearances allow her to shoe-horn the race card into every subject imaginable while demonstrating the stultifying banality of her opinions. But, I gotta give this sassy, soul-sista credit because with no talent (especially no play-writing talent) she has become the House Negro of the British middle class and (wait for it) — a board member of the British Museum!

Homosexuals are also useful idiots for their Cultural Marxist masters. They’ll do anything if it gives them the chance to snort poppers and wear frocks. The lesbians get to wear the pants on stage in taxpayer-funded all-female Shakespearean productions. It is true that in Shakespeare’s day young men played the female roles. But, this was not transvestism by choice. It was necessary because women weren’t allowed on the Elizabethan stage. And there was no kissing or touching in the original productions.

Homosexual playwrights, directors, and designers rarely miss a chance to demean Whiteness and masculinity and to degrade females. In a recent London production of a play based on Patrick Hamilton’s brilliant WW2 novel The Slaves of Solitude, the queer director and adapter changed the American GI who was the play’s love interest into a Black soldier. This was impossible casting for all sorts of reasons. But it allowed the queers to indulge in their own fantasy of having a Black buck ravage the spinsterish English heroine.

There have been many other instances of plays and musicals being mangled by ludicrous race and “gender-bending” casting. Edward Albee, Arthur Miller, Tennessee Williams, Noel Coward, and Rodgers and Hammerstein all forbade such changes. Some of those men were homosexual but they still recognized cultural vandalism when they saw it. Sadly, their estates are managed by their PC grandchildren determined to make their Grandpa’s back catalogue hipster-friendly. That sound you hear is of those disrespected gents turning in their graves.

Meanwhile, the hypocrisy of the Cultural Marxists and their apparatchiks in the arts is stunning. They live in the Whitest communities they can find and send their children to the Whitest schools. (The Clintons live in the Whitest zip code in America, and Jewish Bernie Sanders moved from multi-ethnic Brooklyn to Vermont — the Whitest state!) The only contact these hypocrites have with any non-White is with their Black maids. And, if she gets too sassy, they’ll fire her Black behind.

As employers they are anything but progressive. All the major film, TV, and commercial producers including the big streaming services film their projects in poor countries. South Africa and Eastern Europe are especially popular. They do this to bust the performer’s unions in the US and UK. This anti-worker behavior is nothing new. In the 1930s, the Jewish movie moguls who ran Hollywood hired goon squads to bust up organizing meetings for the Screen Actors Guild. Meanwhile, British Equity is too busy creating new genders to act as a genuine trade union and fight the media giants.

These media “liberals” also go abroad to abuse and exploit the local actors and crews. The same producers and stars who cry on the awards shows about Trump and climate change and animal rights allow film extras to be treated like cattle — forced to stand in the cold and wet for many hours (sometimes all night) and given little or no food and very meagre wages. I’ve had extras beg me for food while the loud-mouth lefty stars dined like Meghan Markle. And the film crews are forced to work round the clock which leads to unsafe conditions. I have seen actors and extras almost decapitated by machinery. I have walked off unsafe sets but most actors are afraid to stand up for themselves.

If I sound angry it’s because I am. And I’m proud of it. I’m also proud of my history, heritage, and culture and I’ll be damned if I’ll let anyone degrade, destroy, or steal them. My anger is fueled by the blood of my ancestors that flows through my veins. And as long as that most precious blood flows through me, I shall do all I can to expose and resist the deliberate genocide of our people. A genocide that is being dramatized and broadcast. On prime time. And we are paying to watch the spectacle. If you don’t believe me, just go to a movie or play. Turn on your radio or TV. Or, open your eyes. It’s happening. It isn’t a sitcom or movie. It’s real. It’s deliberate. And we can stop it. But the entirely legal means of doing so are best discussed elsewhere. In the meantime — Hail Victory!

— Jack Antonio, Brooklyn, New York City

Politically Correct theatre was typified by the multiracial, “anti-fascist” production of Hamlet at the Irish Theatre, Covent Garden in 2019.

Editor’s Note: Jack Antonio is the author of Boy Outa Brooklyn — a murder memoir. It is available on Amazon as a paperback and eBook and from all major eBook distributors. Or, visit Jack’s blog at http://www.boyoutabrooklyn.com

Heritage and Destiny is a bi-monthly 24-page magazine, published in the UK, to reflect a cross section of 21st century racial-nationalist opinion. For a sample copy please send $10.00 to; H&D, 40 Birkett Drive, Preston, PR2 6HE, England, UK. For full subscription details check out heritageanddestiny.com

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Truthweed
Truthweed
16 June, 2020 10:37 pm

Greetings Jack Antonio. Racial mixing is genocide!!!

Truthweed
Truthweed
16 June, 2020 10:43 pm

I cannot criticise Richard Rodgers. He knew I was a goy but gave me my first musical instrument.

Arvin N. Prebost
Arvin N. Prebost
Reply to  Truthweed
17 June, 2020 6:15 pm

Weed, you met him and he just gave you a musical instrument ? That was quite generous. What instrument was it?

Truthweed
Truthweed
Reply to  Arvin N. Prebost
18 June, 2020 1:20 am

I was a teenager Arvin, in the early seventies. I didn’t know who he was but we chatted in a restaurant. When he asked whether I liked musicals I unknowingly whistled tunes from many of his own compositions. When I said I was going to buy a trumpet he left one for me there on the next day before returning to his home in Connecticut. Later I recognised him on a record cover.

Arvin N. Prebost
Arvin N. Prebost
Reply to  Truthweed
18 June, 2020 9:58 am

A righteous man!

Panadechi
Panadechi
17 June, 2020 12:21 am

The evidence of the white genocide is more than forceful, the author is identified, his tactics and methods are identified, his resources are identified, his henchmen are identified, so it is time to act against the offensive, the white race is counting down. . The Semitic parasite will never stop, because its rapacious greed will not allow it. What options are we developing as a breed?

Arvin N. Prebost
Arvin N. Prebost
17 June, 2020 9:29 am

Sad but revealing. The passion on our side will come from our artists. The Jews hate true artists as much as they hate Whites. There are many conservative artists.

I once had an interview at our city paper for the job of staff artist. Two homosexuals came in and felt from my vibes that I was not gay. Few words were exchanged. I did not get the job.

Most people from conservative families are steered into jobs that “make money.” That is why we have lost the culture. And now, in Britain, the money-earners are forced to pay for the erasing of their own history.

Janie
Janie
Reply to  Arvin N. Prebost
17 June, 2020 10:16 pm

I went through the same thing in LA. I was a working screenwriter, but I got tired of my ability to do the job well being the least most important part of me getting the job. I’m a young, fairly attractive (so I’ve been told), white female, not Jewish, so the deck was always stacked against me, unless I was willing to debase myself for men like Weinstein (I refused). The final straw was having yet another Jewish producer steal my work, and pass it off as his own, after having a working relationship for years. I quit the industry, and moved to FL, now I’m working on a book series. The whole experience stifled my creativity. I’m finally coming back from it, writing the truth as I see it.… Read more »

Arvin N. Prebost
Arvin N. Prebost
Reply to  Janie
18 June, 2020 9:51 am

They do things so quietly, so behind-the-scenes ! I hope your book series does well.

Karen
Karen
17 June, 2020 4:27 pm

https://www.youtube.com/watch?v=Au-Zpr5_m7Q

The Afro-Marxist Utopia
VertigoPolitix

Karen
Karen
Reply to  Karen
17 June, 2020 6:09 pm

JooTube deleted the post because “it violated their terms of service” by telling the truth. I found it on BitChute.
https://www.bitchute.com/video/kFBlQxtY91is/

Angelicus
Angelicus
Reply to  Karen
19 June, 2020 2:28 pm

Thank you, Karen!

JewTube’s censoring policies are so ridiculous and biased that nobody can be deceived by their hypocritical speech. The video is just plain and clear evidence of how brutal blacks are. There is no text or speech condemning or attacking them, the images speak for themselves. Truth hurts!

Mortal Goyal
Mortal Goyal
18 June, 2020 5:20 pm

That is correct.

You mix and fornicate with a member of any race
besides your own…then you are no longer a member of your actual race….and can ____________ eternally.

Elfriede
Elfriede
19 June, 2020 8:13 pm

Why does the Cul-Marxi Community loathe Traditional Western Culture, Indo-European Folk Religion (IEFR) believers and other folks, who refuse to live by para-communist standards, anything and everything to do with such folks, and so on? In fact, Zionism and Communism are to the human races an evilly fremd twain. If something isn’t harmful to at least Indo-European descent folks in some way or another, then it cannot become a part of the Post-Modern Marxist Culture and society.

Aristo Boho
Aristo Boho
20 June, 2020 2:04 pm

Mister Jack Antonio has in just a few paragraphs covered all the bases of what is taking place, deliberately to manipulate and forever change White culture: European Man. A no less than excellent synopsis with empirical experience. What people should realise is that this is a controlled well-planned agenda. And the foremost culprits are those of the White Race who allow it to happen. Now as far as acting goes, many years ago there was an attack on Mister Anthony Quinn, half Irish half Spanish. The belligerence inveighed against him was because he was going to interpret Montezuma. What no one points out is that non sub-Continental Caucasian Man, the European, can play other races convincingly whereas Black skin above all, Brown and Yellow skin do not allow for convincing… Read more »

Howard
Howard
20 June, 2020 7:32 pm

all the colored people in your culture is a heads up to show u the future

The G Factor
The G Factor
21 June, 2020 2:12 am

Funny how in all movies about World war II that I seen none has featured a black man playing a Nazi.

David Cavall
David Cavall
21 June, 2020 11:47 am

It’s all very sad–this is happening in the U.S. It is my belief that in the case of America these are all signs of the freefall decline of a once great nation which is leading to its destruction.
History shows us this happens to all great nations and empires.

Wolf
Wolf
21 June, 2020 10:28 pm

Whoopi (((Goldberg))) — sanctimonious and absolutely obnoxious. Film and TV have become so gross, full of white hate and put downs and jewish clowns – probably similar to Weimar Germany. Our people cannot help but awake in utter disgust. So the blacks want to play royalty. After all this time. We though have always been the workers, the builders, we were never the royalty and we still built it all.

Thomas Day
Thomas Day
5 September, 2020 8:48 am

Whitey needs to take his country back, and close the borders.