Source: Bigstock

I recently watched a Swedish movie, 1939, as good a film as I’ve seen in years, with a beautiful young blonde as the heroine, and with none of those boring Bergman silences that trademarked his movies. Alas, nowadays the moronic youth that watches movies prefers the visible to exceed reality, ergo endless science fiction and horror fantasies. It all has to do with the moneymen. As a Hollywood-based friend once described a movie big shot with whom he had recently made a movie, “He married a tart, and dragged her down to his level.”

The recent Oscars, I’m told, were a drag, but at least Emma Stone and Oppenheimer are worth watching. Yes, Hollywood still fascinates, however grotesquely. Being au courant with modern sensibilities means normal people do not merit depiction as such, but as freaks, a role reversal worthy only of Hollywood. And this is where our Western culture has gone wrong. While communism imploded and the free markets took command during the late ’80s and early ’90s, the victors ignored the culture and allowed the Marxists to take command. Universities, TV studios, the media, and Hollywood were all taken over by the left, which then infiltrated Silicon Valley and Big Tech. Now it’s too late, the bad guys are in and the good guys are running scared.

Looking around, all I see are brainwashed people endlessly repeating things they’ve learned from watching TV commercials and down-market movies. Although Scotland is 95 percent white and England 82 percent—only 4 percent of Britain is black—every commercial and every presenter of news and such is close to 50 percent black. In the U.S. the whites are now at 59 percent, yet the overrepresentation of the so-called underrepresented, the blacks, is even more drastic still. See what I mean by losing the cultural wars?

Our cultural leaders have also rewritten our past. George Washington is now at times depicted as black, as are all those black founders in Hamilton, and the Brits are not far behind. That poor headless Anne Boleyn has been shown as black, as has half the regency. They’ve even retroactively made Mozart black, but at least they haven’t credited him with rap.

Universities, needless to say, churn out the antiwhite propaganda quicker than you can say Stalin, ignoring the classics of Greek and Roman antiquity because it is too white. And yet, dead white males have done all the heavy lifting these past 2,000 years, with Socrates, Plato, Aristotle, Da Vinci, Michelangelo, Mozart, Beethoven, Bach, Tolstoy, Flaubert, Hemingway, and the rest of the giants now needing to have blackface imposed on them. But if I stood up and quoted the above segment in any college in Britain or America I would be lynched, although—and here I’m bragging—it would take quite a lot of these weenies who have had the wool pulled over their eyes.

But let’s get back to the movies, as literature and the rest of the arts might confuse the present-day bunch. I have discovered a way to make a fortune, and it deals with moving pictures, as once upon a time the present filth was called. As in every successful film, you need goodies and baddies. You cast whites as baddies and blacks as goodies and presto, you have the reviewers and the New York Times ignoramuses on your side. The next step is trickier. The white males in the film need to be not only in the wrong but also weak-willed when compared with the black women they’re in contact with. No black woman should be portrayed as being dumb or having too many children by the time she’s 18 years of age. Just as no white man should be shown not to be a white supremacist.

The baddies in the film all have to be self-employed and to be exploiting people. The goodies are all into nursing or playing the bongo drums on Park Avenue while raising money for underage pregnant women who have been raped by whites. Straight people are out—if you want your film to be reviewed, that is, especially straight white people. Married white couples should never be shown as happy—unlike married black couples—but living in misery and relieving their unhappiness by putting obstacles in the way of young black gays.

Do not make the mistake of depicting a woman with a shrill voice, a turned-down mouth, messy hair, and a manner that would scare a Gestapo torturer. If you need to cast an Oriental, make him or her neutral and without a Charlie Chan accent. Palestinians can be portrayed as killers and blowers-up of things, and their roles reversed by Israelis if and when the film is shown in Arab countries. Dedicate the movie to some woman who was killed in a Trump rally, and invent a good name for her to be seen as the curtain falls. Do all of the above, open a Swiss bank account, do not reveal the secret of your success, and keep reading Takimag for future advice.