Monday, May 09, 2011

It’s a White Male Crime Wave!

By Nicholas Stix
December 23, 2002
A Different Drummer/Toogood Reports

[See also my report, “NBC’s Law & Order: Anti-White Propaganda in the Culture War.”]

Those evil, white males are at it again. In the past two months, Neo-Nazis have shot up and started explosions in Los Angeles not once, but twice. The Russian mob has also laid the City of Angels to waste. A priest was caught abusing an altar boy in Boston. A sniper terrorized the Miami area. In Philly, a white male was caught kidnapping girls, and turning them into sex slaves. In New York, innocent young black men were up for the death penalty, having been racially profiled in a murder case, when the real killer was white. And a white male is seeking to explode a nuclear weapon in L.A. (Los Angeles has suffered the worst, by far.)

What, you haven’t heard? Then you’ve been watching all the wrong shows. The white male crime wave is happening on network TV dramas, of course. The neo-Nazi stories both played out during the first few weeks of Michael Mann (Miami Vice, Heat) and Frank Spotnitz’ (The X-Files, Millennium) new police show, Robbery Homicide Division. That’s a real poverty of imagination. One white supremacist story line per year would already be pushing it.

Reality check: In the real Los Angeles, the murder rate is skyrocketing, but white guys have nothing to do with it. It’s the real gangs that are doing the killing, particularly the black Crips and Bloods in South Central. ABC News is careful to avoid mentioning the racial character of the gangs. According to L.A.’s new police commissioner, William Bratton, over 100,000 young Los Angelenos are gang members. Bratton, who formerly ran the Boston and New York City departments, seeks state and federal intervention – but not due to fictional white supremacist or Russian gangs.

The Robbery Homicide Division producers’ racial pandering was to no avail. On December 11, CBS cancelled the show. The Tiffany network had previously made the ominous move of changing the series’ night from Friday to Saturday. CBS executives denied that the cancellation had anything to do with the December 9 arrest on suspicion of domestic battery of star Tom Sizemore ("Detective Lt. Sam Cole"), whose girlfriend charged him with slugging and threatening her.

Although all of the priest abuse cases that have recently been uncovered involved incidents that happened years ago, that didn’t stop Boston Public producer-writer David Kelley from exploiting the situation. Kelley has avoided dealing with the real problem plaguing the Church, of predatory, pederastic homosexuality, and the bishops who have tolerated it.

In re David E. Kelley: Watching the creative deterioration of the man who was once TV’s shining prince into the equivalent of a supermarket tabloid may please some of Kelley’s critics, but for this observer the spectacle has been one of the great tragedies of contemporary television. As with the ancient Greeks, Kelley’s great sin has been that of hubris: He wanted to produce more and more and more simultaneous series, and he got the chance. Thus has one of the most original writers in the history of the medium degenerated into a paint-by-the-numbers, pc hack.

On Fox’ cutting edge series 24, it looked like the show was finally going to have the nerve to portray a terrorist as an Arab – you know, like in real life? No such luck. Now, it appears as though the Arab character was just a front for yet another evil, white male – the terrorist father of the Arab’s American fiancé.

The sniper episode occurred on CBS’ new CSI spin-off, CSI Miami. It was written and filmed prior to the real sniper attacks that were allegedly carried out not just in the D.C. area, but across the nation, by John Lee Muhammad and Boyd Lee Malvo, who happen to be black. No matter. Just as the real police ignored the evidence of letters, telephone calls and eyewitness accounts, in insisting that the killer was a white male, the next time a TV drama does a sniper story, the fictional killer will surely be … a white guy.

The Philly sex slave story was an episode of Hack, a noteworthy new CBS drama starring David Morse. But Philadelphia is a majority black town in which white felons are as hard to find as Philly cheese steaks in India.

And CBS’ cop show, The District, opened its third season with a black detective getting "profiled" while driving by a vicious, racist white cop who proceeds to mace the black detective, while the latter tries to show him his badge.

One of my favorite series, ABC’s spy drama Alias, is about a young, female, CIA double agent (Jennifer Garner as "Sydney Bristow"), who serves with her double-agent father, "Jack" (an intense Victor Garber). Aside from the occasional black muscle, Alias has managed to avoid having any black heavies, while presenting a lily-white gallery of bad guys.

Initially, the chief heavy was "Arvin Sloane" (Ron Rifkin), the head of "SD-6," a criminal organization masquerading as a "black ops" division of the CIA. Sloane recruits CIA agents who believe they are serving their own country, instead of undermining it. (Don’t ask how the Agency could lose so many agents, without immediately becoming aware of the subterfuge. Alias requires the sort of constant suspensions of disbelief of a real (i.e., Sean Connery) James Bond movie, but the dramatic payoffs are worth it.) Meanwhile, the two regular black characters, Merrin Dungey as Sydney’s roommate and best girfriend, "Francie Calfo," and Carl Lumbly as unwitting, fellow SD-6 agent, "Marcus Dixon," while likable and ably played, are noble beyond measure.

During Alias’ maiden season, Arvin Sloane was eclipsed in evil by two other white devils: Sydney’s mother, "Irina Derevko" aka "Laura Bristow" aka "The Man" (the still-stunning, still kittenish, Lena Olin), a former KGB agent who had murdered 13 CIA agents and who is the most evil, and initially the most powerful woman in the world, and "Sark." The blonde-haired, blue-eyed, palefaced "Sark" was initially presented in a way that suggested an Eastern European, and although Oregonian actor David Anders has him speaking English with one of those European-schoolboy-taught-by-a-lower-middle-class-Brit accents, incredibly, the character was recently described by "Sydney" as British. (The cute "profile" ABC has posted of the character says that "Sark’s" place of birth was "Possibly Galway, Ireland.")

In the premiere of NBC’s acclaimed, new, L.A.-set police series, Boomtown, created by Barry Schindel (former producer and head writer on NBC’s Law & Order) a feral white boy murders a girl on a whim in a drive-by shooting (supposedly, he only wanted to frighten her). The white devil was in a car with an innocent black boy who had come under his influence, and who would, because of the white devil, panic and fall off a ledge to his death, when the police came to arrest him.

Boomtown’s star, Mykelti Williamson, plays "Det. ‘Fearless’ Bobby Smith." In "The Freak," a moving episode about remembrance that was inspired by an even more powerful 1990-91 episode of China Beach ("Escape"), "Fearless" has to protect a pale white Russian beauty from the predations of murderous, Russian mobsters.

Reality check: In January, 1998, Mykelti Williamson was arrested, charged with attempted murder, and later tried for attempted manslaughter. (I’d never heard of a manslaughter charge, except as a case of an unintended homicide. Did the "attempted" manslaughter charge mean that Williamson wanted the victim to die, ‘by the way’?)

According to Williamson’s ex-wife, Cheryl Chisholm, he had been making harassing telephone calls to her, and stalking her. Williamson had allegedly followed Chisholm while she was shopping, robbed her of her house keys, entered her house and repeatedly stabbed Chisholm’s boyfriend, Leroy Edwards, in the abdomen and the hand with a butcher knife. Williamson was arrested one hour later. In what amounted to a confession, "Williamson testified he got angry when he went to visit his 4-year-old daughter at his ex-wife’s house, because he previously heard his daughter describe her mother having sex with Edwards." In September 1998, as Williamson had predicted would occur, a California jury acquitted him of all charges.

The subject of Mykelti Williamson’s travails with the law is blacked out of biographies of him, and avoided by interviewers. It is not known whether Williamson spends his free time hunting for Leroy Edwards’ real attacker.

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