Systems and Symbols

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Mad Men: A Jewish Fantasy Indulged In

The AMC television series Mad Men takes place in the early 1960’s and is centered around the advertising profession on Madison Avenue.  The show’s main programming purpose is to convey to the viewer how terrible and backward life was when White gentiles (especially White gentile men) were the dominant cultural and political force in America.

The show is written in typical “Culture of Critique” (1) form in that it portrays most of the White gentiles as crude, ignorant, “racist,” sexist, materialistic, deviants with no redeeming human qualities.  The show goes to great lengths to push these themes and appears to rely heavily on the book “The Authoritarian Personality” as its guide to White gentile representation (2)?

Every episode is full of over-the-top examples of White gentiles living in their “madness.”  Sexually repressived housewives shooting birds in suburban backyards; White men singing in “black face;” crude jokes at the office relating to plane-crashes and other tragedies; husbands raping their wives, constant adultery; littering; and a plethora of “racist” and bigoted comments that are intended to traumatize the viewer while teaching White guilt and self-hatred.

The main character is Don Draper. Draper is the creative director of his advertising company and is skilled with words and in “creating happiness” in the minds of consumers.  Don is supposed to be symbolic of the phoniness and plasticity of White gentiles and White gentile culture.  In fact, we learn late in the first season that Don Draper isn’t even his real name. His real name in “Dick Whitman” (read Dick White-man) and he elected to take on the name and life of Don Draper to get him out of service in the Korean War.  One of the subthemes of Mad Men is the idea of “hiding in plain sight.”  The idea here is that while White gentile society looks attractive and sounds pretty on the surface, the reality is that it’s very sick and demented underneath.

The second most important character on Mad Men is Peggy Olson.  Peggy’s main programming purpose is to show the viewer how difficult it is succeeding in a world dominated by White gentile men.  She does the work but the White gentile men take the credit.  She gets pregnant in the first season after being taken advantage of by one of her White male superiors in the office.  Peggy has been styled as the Virgin Mary (3) and this stylization of her as the Lady Madonna is a peek into the minds and souls of the writers and creator (Mathew Weiner) of Mad Men. Peggy gave up her baby in Mad Men and this is most likely what the writers/creator of Mad Men wished the actual Virgin Mary did with her baby.

Another significant character is Joan Holloway.  Joan is a secretary/office manager who wants very much to live a traditional woman’s role.  She wishes to get married to a good man and have a family. She even scoffs at the other women’s desires at having careers. The writers of Mad Men constantly show Joan’s life as being one of disappointment.  She’s married to man who appears good (a handsome doctor) on the surface (back to the “hidden in plain sight” theme) but really is a moron who rapes Joan and ultimately leaves her to serve in Vietnam (not out of a sense of service but because he feels important and more masculine as a soldier).  The programming purpose with Joan’s character is as a warning to White gentile women that the traditional role of women will always lead to disappointment.

All of the major characters on the show are White gentiles.  But in the small roles where we do see non-Whites these characters are portrayed as honorable and wise.   The Jewish characters are very likable, level headed, and have positive human qualities.  In the current season Peggy’s boyfriend “Abe” shows Peggy (and the viewer) what real love and romance is, which is a contrast to the White gentile men on the show who only know how to use and abuse women.  One aspect this writer was impressed by was the honest portrayal of Jews as being highly involved in the revolutionary political movements of the 1960’s. This is true historically, as the 1960’s political and intellectual movements were led overwhelmingly by Jews (just as their grandfathers did during the Bolshevik revolution and Wiemar Period in Germany[4]).

While the major programming purpose of Mad Men is to program the viewer into believing that life was unbearable when White gentiles were the dominant force in America, the show also has a hidden overarching theme that is revealed to us in the opening credits.  This theme is the idea of the “fall of the White man” (the fall of the “Whitman”).  The opening credits shows a figure that looks like Don Draper/Dick Whitman jumping out of his office window (see video below). This White man falling is symbolic of the show’s overarching theme.

Snout Smack also believes that this scene is a hint into how Mad Men will end as a series. Snout Smack predicts that Mad Men will end as a series with Draper/Whitman jumping out of his office window when his past catches up to him and he can’t run anymore.  This series finale will come as a “surprise” to viewers of Mad Men and they will be “astonished” and “awestruck” at an ending that was “hidden in plain sight.”

This idea of the “fall of the White man”  is purely an anti-White, Jewish fantasy and one they’ve had the luxury of indulging in due to the Jewish cultural and political dominance of the last 50 years (in which domination of Hollywood is a critical part [5]). Unforchantly for Mr. Weiner (the creator of Mad Men) and his brood of sorceress writers (and others of their ilk) this period of Jewish cultural and political dominance is coming to end.  Just like a bad television show, the time of Jewish cultural and political dominance is about to get CANCELED.  And the Dick White-Men of this earth (and possibly others in the Universe [6]) are going to do the canceling.







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