The United States has a timeless love affair with World War II which is unlikely to subside, even as nearly all veterans of the conflict (whether soldier or civilian) pass away and we draw further and further into the 21st century.
To be fair, this is quite understandable. Due to its immense scale of destruction and epic scope, the conflict is perceived to be the ultimate “Michael vs. Lucifer” face-off in human history.
The great triumph of the unquestionably good—the humanitarian and liberating United States and its Western allies—versus the cartoonishly evil Nazi Germany equipped with their cruel “muh 6 million” gas chambers, frankenstein technology, funky arm gestures, and over-the-top decked out uniforms.
Sure, Italy and Japan were part of the bad guys too. While Spain, Sweden, Romania and other countries certainly played along by proxy and provided some voluntary soldiers, port access, raw materials, and freedom of movement among other hindsight no-no’s.
However, the roles of Italy and Japan are significantly downplayed in modern times compared to the Nazis, who just make far better pop culture villains. (Heck, there are many SJWs in modern times who actually think Japan was a victim in World War II.)
The Nazi archetype also perfectly fits the modern ‘social justice’ zeitgeist in the United States, which is basically a (((puppeteered))) conflict that is designed to pit a broad coalition of “marginalized” peoples against a perceived oppressor.
Women, blacks, Hispanics, Asians, Native Americans, gays, transsexuals, disabled people, and self-hating white liberal cucks are the “allies” of the conflict and are on the “right side of history,” as the saying goes. Meanwhile, right-leaning and able-bodied heterosexual white males are the “racist” and “white supremacist” Nazi ogres of our age, who have been “emboldened” by the election of Donald Trump in 2016.
There is just one problem with the newly resurrected Nazi-bashing narrative in an increasingly non-white USA: it was almost entirely heterosexual white males who also put a stop to the actual Nazi’s (and Japanese) in the 1940’s and freed nearly all peoples of the world in the process. That unsettling fact needs to get the George Orwell “Ministry of Truth” treatment for all future movies and TV shows right away!
Historical Fact – U.S. Armed Forces Were Segregated In WW2 And Overwhelmingly White
With few exceptions, such as a select group of Navajo tribe soldiers who accompanied white American troops in the Pacific Theater to act as highly-efficient artillery “code talkers” (and bless their souls by the way), all military units of the United States armed forces were racially segregated in World War II.
White troops (making up well over 90% of total strength) fought in white-only units, blacks fought in black-only units, and the famous “go for broke” 442nd Regiment was composed of almost entirely 2nd generation Japanese-American men. This became the most decorated unit in the history of US warfare.
Despite the thoroughly commendable contributions of non-white soldiers in World War II, it is entirely safe to say that both the European war and the Pacific war would have been easily won just based on the white component of U.S. manpower alone, which was a much whiter country in the early 1940’s compared to today. Yet there has been a change in recent years, with an influx of social justice tinged World War II films which imply that ‘ignorant’ sentiment should be called into question.
Enter The WWII Black Super-Soldier!
Straight from the get go, it implies that the bombing campaign in central Europe is going very poorly for the USAAF (United States Army Air Force). Experienced German pilots are entering laughable turkey shoots, U.S. bomber losses are heavy, and white American fighter escorts are portrayed as hopelessly inept at protecting them. Thus enter a group of wise-cracking magical negros from Tuskegee, Alabama who save the day (every day) while one of them even gets to bang a smokin’ hot Italian woman on his off time.
Voila. The European air war of the 1940’s meets fabricated 2010’s standards of racial justice, minority empowerment, “we couldn’t have done it without you” vibes, and interracial hanky-panky! Just don’t let some irritating things called “historical facts” spoil the fun.
And Now Integration!
White supremacist Nazi zombies are gonna git ya black boy! That pretty much sums up the upcoming movie ‘Overlord‘, which automatically throws any semblance of historical accuracy out the window by portraying the African-American protagonist knee deep in a racially mixed group of U.S. paratroopers over Normandy.
Brought to you by director (((JJ Abrams))) and screenwriter (((Billy Ray))), you have a pretty good idea of where this is going. Expect plenty of gleeful killing of Nordic-looking people, the African-American protagonist stoically taking verbal abuse from his douchebag goy white countrymen, a white female “Mary Sue” stock character who takes a liking to said protagonist, and plenty of other 1940s tropes given the same 2010’s social justice twist as Star Wars.
I touched upon historical revisionism before in a previous article, in which the Game of Thrones developers (((D.B. Weiss))) and (((David Benioff))) wanted to create a TV series called ‘Confederate‘, a show which would cling to the desperate and preposterous liberal narrative that a hypothetical Confederate States of America would still have slavery in the 21st century (despite still 3rd world Brazil being the last place in the Americas to abolish it in 1888).
Whether it’s ‘Confederate’ or ‘Red Tails’ or ‘Overlord’, these revisionist visual works all ultimately serve the same intended purpose. Downplay the importance of white males (or at least make them look bad in the process), and elevate in stature various U.S. minority groups and members of the female gender to rock star status. Simply to fit the emerging demographics and social expectations of an “equitable” 21st century USA.