Inside every White person, Hitler yearns to breathe free
The struggle between the autonomous few and the non‑autonomous many – is only beginning.
T he Academy Awards of Merit (
Oscars) are a classic case of the self‑fulfilling prophecy of White supremacy, since there are no years when White people are not nominated for White actors rarely renounce and from which Black ones can rarely benefit.
In a sense, Blacks have little fear of being judged by their skin color for Caucasian awards, since it is so very difficult for them to win such awards from Whites – in the first place. Socially‑controlling Whites require that People Of Color (POC) always be at their best, because Whites will never give them more than one chance; while Whites offer themselves at least two, so are incentivized to be lazy, mediocre & entitled. Therefore, since Political Correctness is designed to favor such Whites, anything Black people win from them must be the result of a talent that not even Whites can deny – no matter how hard White people usually try.
Rampling’s claim that Black actors are somehow not as good as Whites proves she is perfectly happy to accept the fact that of the 3,048 1929 to 2016, only 32 were won by Black people – implying Whites are 95.25 times more merit‑worthy than Blacks. It is White supremacist to assume that the reason for this is anything other than White supremacy, since there is no scientifically‑objective evidence that Whites are more talented than Blacks.
Rampling’s rant is the unassuagable White guilt that comes from being born into a racist culture and of benefiting from the unearned advantages that constantly‑threatening other people’s lives offers Whites. This induces the White desperation of claiming the existence of Black racism (whenever Black people attack White supremacy) as a simple way (Whites think) of evading the existential agonies of White guilt – an evidence‑free White paranoia that also suggests Hitler’s behavior actually was a self‑defensive response to the (non‑existent) predations of European Jewry. Simultaneously, the non‑existence of Black supremacy reveals Whites possess a reckless disregard for the facts‑of‑reality, which is also a tacit admission of just how racist Whites are and wish to remain.
The big problem for White actors, of course, is that if their awards were won because they were White (rather than talented), they would then have to face the ego‑deflating news that it is Whites who are the most undeserving of
Oscars – not Black people.
It is an unpalatable fact for Whites that every award given to a White person in a White supremacist culture is automatically‑undermined and tainted by that very White supremacy. Their knowledge that they do not have to work as hard as everyone else to achieve the admiration of their peers, makes Whites lazy‑enough not to deserve the awards they get; meaning that these awards must be being awarded to them on the basis of skin pigmentation, rather than talent, skill or ability.
White supremacy at the
Oscars has the same effect as drug-taking in sports – it is cheating‑to‑win; making Whites no better than athletes like Lance Armstrong (the three White exceptions being Dudley Nichols, George C. Scott & especially Marlon Brando). What Charlotte RAMPLING is really saying, of course, is that without White supremacy she would not have had such a good acting career.
Rampling conveniently‑ignores the fact that because Western culture is institutionally racist, actors‑of‑color have fewer opportunities to display their acting talent. But
La Rampling – being White – lacks empathy, since the obvious fact of Institutional‑Racism means less competition for her acting roles and fewer actors better than she clearly being seen to be better. Actors‑of‑color thus get less opportunities to become the bankable stars whom, Whites claim, do not exist – a classically‑racist self‑fulfilling prophecy.
White people fear that Black people are better actors because Blacks live richer emotional lives; thus being able to reflect and represent more varieties of human experience in their performances. This subverts the self‑fulfilling White tendency to treat Black talent as invisible, in order to make White talent seem so much better by implying Whites face no real competition from anyone else, since Whites wish to be seen as the self‑evident Master race that their racism clearly reveals they are not.
Every admission that a Black actor is better than a White one (& each year their can only be one Best, of either gender) knocks Whites off their racial pedestal – a blow to the ego from which they may never recover; explaining why so few such coups are ever offered Blacks. (Whites would prefer separate actor categories for Best Black Actor & Best (White) Actor, but that would make the
Oscars’ racism (& its racist tokenism) even more obvious – as does the fact that most years two movies win for best film: One English-language; the other Foreign; ensuring that at least one White film wins every year.)
Rampling even bizarrely implies that White culture is a meritocracy – without any evidence; proving her to be a paranoid/schizophrenic with White delusions of Grandeur. This is the usual White attempt to maintain the benefits of White supremacy, while vainly‑refusing to accept the most‑appropriate label for such behavior:
Racist. Yet, one cannot call such Whites anything else, stuck as they are in the angry vicious‑cycle of continually being reminded of their talentless claims of ethnic greatness.
Clearly, Rampling has relied more on her skin color in her career than upon any actual talent that she may – or may not – possess. Whites like her fear that if more Black people judged
Oscars, less Whites would win; something that would make Rampling even more vocal about her inbred racial‑resentment. (Would she have the courage to say that because most Miss Worlds have been White, that this is because Black women are ugly?) Ultimately, a woman like Charlotte Rampling need never fear women losing‑out at racist awards like the
Oscars, because a woman will always (& can only) win
Best Actress; a gender quota that only applies to the four acting categories (Best Actor in a Leading Role; Best Actor in a Supporting Role; Best Actress in a Leading Role; Best Actress in a Supporting Role): An attempt to automatically forestall claims of White sexism in the Academy (there is, for example, no
Best Female Director). If only one actor won for their acting every year, you can be certain that if it were mostly male actors, she would be the first to label the Academy sexist. (It is also the case that nearly all acting
Oscars are given to English‑language performances – only three such prizes for foreign language performances having ever been awarded; further demonstrating the rigged game the Academy plays with its prizes.)
Meritocracy for Whites
Whites know perfectly‑well that their culture is not fundamentally‑meritocratic, yet continue to accept awards knowing these have no necessary relationship to actual White ability, talent or skill. They refuse to openly‑admit that this is the case, so act (& it is all about acting) as if such awards were the inevitable reward for genuine, unaided adult achievement – when they are little more than examples of Whites re‑affirming the racist bonds that bind them to one another: Tokens of acceptance and approval that are sometimes given to POC in the vain hope that no‑one will realize that they are little more than rewards for agreeing to be racist.
When all other arguments fail to convince POC (& Whites, themselves) that their mutual backslapping is anything more than just another form of apartheid, Whites give‑up pretending to be meritocrats; falling back to their default position: Open White supremacy. Whites have to cheat to achieve anything at all in comparison to others, otherwise their other‑directed sense of identity (endless rigged benchmarking tests) can never form, since they are too lazy to develop a self‑directed identity, and certainly too idle to evolve an autonomous one based on what they discover using their own inner gyroscope. This is what makes White laziness as institutionalized as White supremacy.
All of this makes White people accessories to racism; additionally‑proving that they believe in White supremacy as the ideal social construction, since it gives Whites the ability to be slothful – at someone else’s expense. There is, after all, no need to hone any aptitude one possesses to its full flowering, if skin color is the basis of success, instead of talent. Whites substitute the need to develop talent with the unsubstantiated belief that they are born with the highest degree of automatic talent: In the diseased minds of White people, actual hard work is never required.
Thus, Whites have nothing else to rely upon as a guide‑to‑living or to tell them whom they are – or might be – and this is at the root of White existential pain. The cultural values that define Whites are the very ones that keep them deprived of self-respect and self-knowledge; meaning that no White actor can ever claim to be the best actor – they can only claim to be the best White one. And the fact that an
Oscar is always awarded in every category – no matter the quality of that year’s recipients – means Whites will continue to award
Oscars to their fellow Whites – no matter their quality.
Few Whites ever learn whether or not they achieve partly, mostly or entirely because they are White, because few are ever truly‑independent of their ingrained need for the cradle‑to‑grave social‑welfare insurance (White supremacy) that is granted them for simply turning a blind‑eye to the talents of those others allegedly not so well‑born.
Because it is clear Whites like Charlotte Rampling are going to open their stupid mouths and pontificate upon issues they do not, do not wish‑to nor ever could understand, either Whites create separate
Oscars for separate ethnicities, or the other ethnicities create their own