I like to look beyond—or, if you will, behind—the “surface” of entertainment by trying to learn a little about the people and institutions responsible for creating it. Doing so enhances my viewing experience.
Without question, information about celebrities and entertainment technology is far more abundant than reliable information about the business and production aspects of the entertainment industry. Informative corporate histories and biographies are sparse compared to the thousands of books, articles, documentaries, and reviews available about celebrities, movies, TV programs, music groups, and so on.
But even learning about the latter is helpful. Let me provide an example by looking into the backgrounds of some of the cast members of the popular Fox television series House, M.D., a Dr. Kildare retread I started watching sporadically a few weeks ago. It stars an actor named Hugh Laurie as the brilliant but irascible Dr. House. House leads a team of physicians who solve impossible medical mysteries at a metropolitan New Jersey hospital. Although the show has been around for awhile, I had not seen it. Because none of the cast members were familiar to me, I set out to learn a little about them.
House was created by Canadian-born TV writer/producer David Shore: “Shore is the oldest of three brothers who grew up in what he called ‘a typical Reform-type Jewish household.’ He had his bar mitzvah at London’s [in Ontario, Canada] Conservative synagogue, Congregation Or Shalom. He now belongs to a Conservative synagogue in L.A., and his brothers, twins two years his junior, are Aish HaTorah rabbis in Jerusalem.”
Hugh Laurie was raised a Scottish Presbyterian, though born in England. His father was a medical doctor who won an Olympic gold medal in rowing in 1948. Laurie adopts an American accent for the show, which is not his natural way of speaking.
Laurie and Jewish homosexual Stephen Fry, who have known each other since their college days at Cambridge, partnered as a British comedy team for many years. (Fry is the son of a Jewish mother and an English father.) Joint projects included the British TV comedies Blackadder, starring Rowan Atkinson, and Jeeves and Wooster, in which Fry played Jeeves and Laurie played Bertie Wooster. Fry, who considers Laurie his best friend, was the best man at Laurie’s wedding in 1989, and is the godfather of Laurie’s three children.
The two . . . ah . . . individuals also worked frequently with British Jewish comedian Ben Elton (Jewish father, English mother).
A conspicuous feature of the television series is a plot thread involving unsubtle propaganda in the form of an interracial sexual relationship between two team members, a beautiful white female doctor (actress Olivia Wilde) and a coal black Negro doctor (Omar Epps).
Olivia Wilde (“Wilde” is her stage name), believe it or not, is the real-life granddaughter of Communist Irish journalist Claud Cockburn (in Homage to Catalonia , George Orwell criticized Cockburn for being under the control of the Communist Party), niece of journalists Alexander and Patrick Cockburn, and daughter of journalists Andrew and Leslie Cockburn, both prominent anti-Zionists. Father Andrew co-edits the newsletter CounterPunch and its associated website CounterPunch.org, for which he and his brothers also write. The publications have frequently been attacked as “anti-Semitic” despite their large stable of Jewish writers. They publish a great deal of useful independent journalism and commentary, including the unique work of maverick conservative columnist Paul Craig Roberts.
House’s love interest on the show is played by Lisa Edelstein, a Jewish actress who, it turns out, played George Costanza’s “Risotto Girl” in the old Seinfeld TV series. Due either to maturity or clever camera work and makeup, she looks far more alluring in House than she did when she was younger and skinnier. In Seinfeld she wasn’t attractive at all. Her character is named Dr. Lisa Cuddy, and in the episodes I saw was not depicted as Jewish.
There is also a Jewish doctor on House’s team for whom House displays little respect. He is played by Jewish actor Peter Jacobson, the son of prominent Chicago news anchorman and TV personality Walter “Skippy” Jacobson.
Another team member is played by an actor named Jesse Spencer, who was born in Australia in 1979. According to Wikipedia, his parents have an interesting background:
Jesse Spencer was born in a pub in Melbourne, Australia. He has two brothers, Tarney (an oculo-plastic surgeon) and Luke (an orthopaedic registrar), and a sister, Polly (currently an intern in medicine). His parents Robyn and Rodney Spencer are the founders of the Australians Against Further Immigration political party and have run several times as candidates in federal and state elections for that party and for One Nation.
The fact that Spencer’s parents hold unusual views is intriguing, but tells us nothing about what Spencer himself thinks. Families are no longer significant determiners of attitudes and beliefs. Even in healthier times children—especially adult children—were not mirror images of their parents.
Of course, in a nation of deep-dyed “anti-racist” racists, there’s always an element eager to visit the “iniquity” of the fathers upon the children, and upon the children’s children, unto the third and to the fourth generation—as witnessed here. The anonymous perpetrator of this libel exhibits the alien psychology of a non-white. The activity of Spencer’s parents is an obscure bit of information about a little-known actor, and such a twisted take on it represents a bizarre—if all too familiar—mentality. To treat even a known opponent of genocidal immigration in such a manner, much less his child, is psychopathological.
So what does all of this signify? That the white star is a homosexual-loving slob that gives the finger; that the Negro wins the model-sexy white girl; the white girl chooses the black; the Jewess gets the white star; and Jessie Spencer—well, he’s just a nice blonde guy with a passive expression in his grey-blue eyes?
Not really. As contemporary television series go, House is not bad. It’s watchable.
Of course, the obtrusive racism typified by the Epps-Wilde pairing is grating and insulting. It is no accident, but rather a deliberately calculated move to achieve a known effect. We understand what the producers’ agenda is. It slips into mainstream entertainment a watered down version of the “Blacks on Blondes” pornography produced by “the other Hollywood”—itself a multibillion dollar industry (organized prostitution) maintained by the same legal system utilized to deprive whites of freedom of speech and association.
In historical white societies, interracial mating, which was rare, almost always involved white men with black women; any offspring were classified as non-white. Today the situation is reversed; such matings overwhelmingly involve black men with white women. This demonstrates loss of white racial dominance—but not to blacks.
The actors, entertainers, and celebrities chosen to convey the messages encoded in entertainment products are important for the subconscious aesthetic, racial, and social representations they are selected to transmit to impressionable audiences. They must connect on a primal level with target audiences.
Ignoring the element of luck (which, of course, is a factor), a complex assessment by production executives of physical appearance, demeanor, mannerism, personality, and charisma is what elevates the careers of successful entertainers. Energy, determination, and professional talent are also required. Finally, “the talent” must possess the capacity to thrive in a Jewish-dominated environment that is bare-knuckled, callous, fraught with pitfalls for the careless or unwary (sex, drugs, money, bad publicity) and not infrequently violent.
Learning something about such people, and looking at their world through the same set of lenses the David Shores of the world use, gives us a little insight into those among us who have gone wrong, as well as who among us is not really “us” at all.
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