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Diversity & Race Realism in Trash TV

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As luck would have it, I recently spent a day snowed-in at a hotel in a Midwestern city. Fortunately, there was complimentary cable. With nothing to do, I’m somewhat ashamed to admit that I tuned into some trash TV and got sucked into a voyeurism that was snobbish, sadistic, moralizing, silly, and addictive all at once. The first show I watched revolved around the lives of extremely fat people in America – people who weigh somewhere around a quarter of a short-ton. Watching these human Jabba-the-Hutts weep and howl while several muscled firemen hauled them into an ambulance to go visit some doctor who delivered a stern lecture on dieting to the crying fatass, who wasn’t able to understand why he is so huge, makes one feel much, much better about skipping a session at the gym.

When I met with friends later that week and did a mea culpa regarding my self-indulgence, one friend admitted he liked to watch a TV show called Intervention while drinking shots of rum to excess. Apparently, such shows are a guilty pleasure for a great many people. So, in an effort to compensate for having wasted time in such a way, I decided to write about these trashy shows from the viewpoint of a “radical Right,” pro-white advocate.

Such programs, where guests come on and scream at each other, or where the viewer gets a glimpse of the lives of pathetic people like the morbidly obese or addicts, are wildly popular. At the same time, these shows are widely disliked. One British judge called this sort of show “a human form of bear baiting which goes under the guise of entertainment.” In researching them, I found that the audience is not always “down-market,” either, to put it bluntly. What gives these shows such reach and endurance? In light of the collapse of formal religious institutions across the West and a widespread sense of social alienation, watching dysfunctional people attempt to work out their problems in front of large audiences fills a necessary role in demonstrating proper community standards. The yelling, screaming, bleeped-out expletives, and depiction of loose sexual morals frames the standards of proper behavior for a great many people.

Admittedly, this is quite unfortunate. It would be better if religious or other constructive social institutions taught people how to behave instead, but since these institutions have vanished into the darkness of Left-wing activism, we are left with DNA tests and lie detector exams in front of a live studio audience. Two of TV’s trashiest shows are Maury, featuring Maury Povich (American), and The Jeremy Kyle Show (British). These shows, while extremely trashy, do deal with some race realist and JQ-related issues that should be examined.

Both The Jeremy Kyle Show and Maury focus on their guest’s relationships. The host is at the center, the rotating guests come on to talk about their issues, and there is the studio audience. In the center of this picture are two of Maury Povich’s guests twerking after the DNA test went their way.

It is very likely that the producers of both programs prime the guests to behave badly. Some claim to have been given alcohol so they’d be stupider during filming. There are also reports that The Jeremy Kyle Show’s producers insist that guests wear hooded tracksuits rather than anything nicer during their appearances. Nonetheless, despite the fact that all of the guests have seen the show before, they still walk into the maw of humiliation on national TV. And both shows have been running for many seasons.

On Maury, the host is a Jew who began his career as a local TV reporter. His guests are mostly American blacks. On a typical broadcast, a black woman will accuse a black man of “denying her baby.” The baby-denying man will be subject to boos, catcalls, and scorn from the studio audience as he walks onto the stage. The man will insist that the baby is not his, and suggest that the woman’s reputation for chastity is not beyond reproach. There will be some drama and shouting between them, and then the results of the DNA test will be read. If the man is not in fact the father, he usually dances with joy, and the woman will run off in shame. If the results go the other way, the woman celebrates, and there is usually a great deal of twerking.

The Jeremy Kyle Show is filmed in Manchester. The host, Jeremy (or Jezza), is an upper-class British man. His father was on the Queen Mother’s staff. His guests appear to come from the working-class neighborhoods of Northern England. Their accents remind this American of Audrey Hepburn’s famous shout in My Fair Lady (1964): “Come on, Dover! Move your bloomin’ arse.” A great many of them have terrible teeth. Like Maury, the guests usually fall into two categories: uncertain paternity, requiring a DNA test, and accusations of lying, leading to the lie detector test.

There are some major differences, however. Most of the guests on Maury are black. The Jew Maury Povich has no concern, moral or otherwise, for his guests. When he insists to a mother, after receiving a negative DNA result, that he will help her to find the actual father, one gets the sense that he really doesn’t care. Likewise, the audience doesn’t care; the mob cheers for the “winner” of the test no matter which way it goes. If the accused man is not the father, the audience that was formerly heaping scorn upon him switches sides without a hint of introspection.

On The Jeremy Kyle Show, the guests are mostly English. As a result, the paternity tests play out quite differently. The women on The Maury Povich Show have had so many hook-ups that a great many men will be tested and the father will still not be found. On The Jeremy Kyle Show, usually only a few suspects have to be tested before the father is determined. On Maury, a negative result makes the man very happy, while on the other, the man is often devastated. The insights one gains into the sense of responsibility held by low-class American blacks versus low-class Englishmen indicates that they are worlds apart.

Another critical difference is that the guests on Maury are mere circus animals. On the other program, the audience often identifies or sympathizes with the guests. The clear explanation for this is a racial one. Jeremy Kyle’s guests are of the same race as his audience. The only difference between them is economic class. Additionally, one senses that Jeremy’s guests are more intelligent. Intelligence? Hear me out – Jeremy’s guests often explain their position using a high degree of logic. Through that logic, one understands how Manchester’s yeomen were able to carry out the Industrial Revolution, manufacture steamships, and build bridges for the new railroad industry. Maury’s guests, especially the women, seem to barely understand how babies are made.

Ultimately, race realism is apparent in everything – even on trashy television shows.


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  1. Posted January 11, 2019 at 4:35 am | Permalink

    Trash TV can be instructive. Many years ago, I was home sick, and I came across a marathon of the reality show, “Beauty and the Geek.” At first I only intended to watch for a few minutes, but I quickly became absorbed, and I spent an embarrassing amount of time watching it that day. Still, what made it fascinating was what it showed about how American society defines “beauty” and “geeks,” and about relationship dynamics. A waste of time, but not completely valueless.

  2. Benjamin
    Posted January 11, 2019 at 5:50 am | Permalink

    I’ve always thought Maury to be more likable and as a slightly higher class version of Jerry Springer’s show.

    Dr. Phil is to Springer as high-grade cocaine is to crack rocks: a much classier version of the former aimed at a wealthier demographic of bored White suburban uppper middle class house wives.

  3. Dunphy
    Posted January 15, 2019 at 2:13 am | Permalink

    Great article.

    Somebody should make some YouTube compilations contrasting the behavior.

    Usually, the black man runs away at news of being the father as the woman chases him exclaiming “I tolejyu” before triumphantly chattering away and shaking her head from side to side as Maury puts his hand on the cornered man and beseeches him to own up to his responsibility, the man in turn nodding his head half heartedly in defeat.

    Meanwhile, the white man weepily embraces the teary woman or if he doesn’t like her, makes a serious affirmation of his duty as if to say “I was a good father all along.”

    If the black man is found not to be the father, he gyrates his hips with a “not the father dance” as the mother storms off stage in a huff whereas the white man may offer a far more restrained version of this or, if he likes the woman, weepily assures her that he’ll care for the kid anyway.

    Blacks are expressive yet calloused and whites are stoic yet emotionally intense and sensitive.

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