Dictatorship of minorities

Society must be corrupted and fragmented into permanently offended minorities — this is the only sure way to make it absolutely manageable

The dubious fanfare of Eurovision 2024 has died down and brought down the curtain on any discussions over a possible joint path with the collective West. Instead of a worthy vocal contest, the audience was presented with a transvestite show, like the one in some nightclub on the outskirts of Amsterdam, soaked through with politics. The Overton window was flung wide open and flapping windswept. Anyone wondering how and why all of this became possible should recall that historically, any sexual revolution — this is exactly what our ‘Western partners’ are trying to impose on society — is a standard harbinger of an attempt at global breakdown. So, what are they planning to break? The answer is obvious — the existing way of life with a traditional family, religious morality and such ‘obsolete’ values as national interests. By the way, Hollywood has been the main ringleader in this process for many years, while Europe, deprived of sovereignty, simply follows in the wake.

Bewilderment instead of delight

The Oscar nomination rules adopted in the autumn of 2020 have come into force this year. They completely block the access of the ‘wrong’ cinema to the coveted golden statuettes and premium hype. Even Leonardo DiCaprio, who for many years played quite successfully in the league of new tolerance, has recently admitted, “There are some dark ages coming up”.
The fact that the dictatorship of minorities is slowly but surely becoming the dominant paradigm in Hollywood is not the news. Now, however, this is officially enshrined in the rules of the Academy of Motion Picture Arts and Sciences, which has for many years dictated its will on a planetary scale. Hollywood as a propaganda factory has existed since the Second World War, when the confrontation between the United States and the USSR as two global civilisational poles finally took shape. The propaganda quality and orientation has since undergone significant changes — such that today’s audience is more often bewildered than delighted. 
Anyway, it is too early to rejoice at your own resistance. What is being done is aimed not at middle-aged or senior citizens, but at reformatting the consciousness of young people and adolescents. It is they who are destined to become adherents of the coming new way of life, on a global scale.  

New standards

Let us turn to the official Oscar resources: the new standards have been introduced ‘to encourage equitable hiring practices and representation on and off screen in order to better reflect the diversity of the film community’. The trend is supported by the Producers Guild of America (PGA). The Representation and Inclusion Standards for Oscars relate to the cast, storyline and subject matter of films and behaviour of characters, the overall crew composition and the existence of film companies in general. To put it briefly, the indispensable presence of representatives of the ‘disadvantaged’ categories must now be ensured everywhere — from on-screen actors to off-screen interns bringing towels and water. Firstly, this refers to ‘underrepresented’ racial and ethnic groups. At least one of the lead or significant supporting actors must be a representative of the specified groups. Secondly, LGBTQ+ minorities and some other categories of citizens are recognised as underrepresented and requiring special preferences in the film industry. They are entitled to at least (!) 30 percent of the roles in any film competing for awards today.
In other words, no project that has failed to take an oath to this political correctness will be admitted to the contenders for the Best Picture nomination. Special terms — colour blind casting and gender blind casting — are meant to emphasise the selection of actors regardless of their race or gender.  
Are you still unhappy about the black mermaid in the Disney’s animated feature film or the black female 007? Forget it. James Bond may soon become a gay Indian, and princess Ariel — an Aboriginal woman from Vanuatu with Down syndrome and will want to have not legs instead of a fish tail, but a sex-reassignment surgery.
It is not about racism or stigmatisation but about the fact that for the sake of propaganda clichés, film studios sacrifice all criteria of professional work. Let us turn to the official website of the Academy of Motion Picture Arts and Sciences and its protection of ‘underrepresented’ categories. All of them must be included in the team of a film project aspiring to receive the top award as casting directors, composers, directors, hairdressers, make-up artists, sound engineers, screenwriters and so on in an amount of at least 30 percent of the film’s crew.  

He who was nothing shall become everything. This means that compliance with professional standards can become increasingly difficult. Obviously, neither qualifications nor talent depend on skin colour or gender, yet it is going to be impossible to reject the candidacy of a ‘racially underrepresented’ contender, an aggressive feminist or a gender-fluid individual, even if the applicant is completely incompetent. The new cultural censors from the film industry are keenly monitoring such situations. Therefore, the maxim ‘Mediocrity will break through on their own’ becomes universal — if you want to avoid social death, follow the rules and work with what you have. 

In practice, this translates into the birth of ‘masterpieces’ that fail at the box office —such as The Little Mermaid (by the way, despite the poor box-office performance by Hollywood standards, Walt Disney is planning to continue the trend), Cinderella with a genderless fairy godmother portrayed by Billy Porter, a bearded black man, Thor with the inexplicable charm of the Afro-Scandinavian gods, the Pearl Harbour action movie stuffed with historical mistakes like a sunflower with seeds, which actually turned into agitprop of Hirohito’s militaristic Japan... The multiracial hobbits and elves from Puerto Rico in Amazon’s Lord of the Rings series did not arouse enthusiasm among viewers, either — hiding millions of dislikes on YouTube did not help.

Alternative agenda

Despite the telling economic indicators and a cool response by the audience, the politically correct meat grinder continues to work, grinding the old into the new. Thus, Walt Disney Productions currently exists exclusively on remakes of its old animated feature films. They are not alone: the American film industry has taken an openly parasitic position. The inability to create new things is the reverse side of the requirement for scripts that should be ideologically verified. Therefore, when Columbia Pictures released an American remake of a Sweden’s Oscar-nominated film A Man Called Ove, and a new Hollywood hegemon — a transgender teenager — appeared at the fifteenth minute in shot with the sad hero of Tom Hanks, watching it further made no sense. 
The alternative agenda, sexual deviations, dictatorship under the guise of inclusion, and green themes are promoted by the US Democratic Party in defiance of the Republicans who are based on conservative values. The film industry traditionally lies in the sphere of interests of the Democrats, who have favoured show business for generations, whereas the Republicans most often choose the real sector of the economy. The investments of the Democratic Party representatives in the film business reliably determine the current agenda — the Democrats control ideology through cinema, pouring money into the creation of the corresponding product. As a result, cinematic art as well as the economy and common sense have to give in and wait their turn in the background. 
Director Frank Darabont, who shot the iconic The Shawshank Redemption and The Green Mile, spoke about it bluntly, “My kind of filmmaking might be a little bit quaint these days. I am absolutely certain that I could not make The Shawshank Redemption today. I do not think I could get The Green Mile or The Majestic made today. I cannot even begin to imagine the studio meddling that would have happened with a movie like The Shawshank Redemption.”  
According to the master, there is little value in such a movie. Along with that, it should be remembered that Darabont is 65 years old. Like many, he is a representative of the older generation of filmmakers. The new politically correct Hollywood is looking forward to the extinction of the old dinosaurs of cinema, while their replacement is being forged under the eagle eye of film academics according to the current Oscar circulars.

By Irina Ovsepyan