Cloud Atlas
''DISCLAIMERWhile I liked the film and would recommend watching it, it is almost laughably "liberal" (in the US sense) when handling ethnicity and related questions. Let me show my point in detail. I think the Short Overview of Racial Portrayal would suffice to get the point across. The nature of anti-whiteness is further explained in the Detailed Overview of Racial Motifs. If the latter is too long, at least read the titles to get the idea, please.
For convenience, I'll label the periods as follows: 1 = 19th century, 2 = 1930s, 3 = 1970s, 4 = 2012, 5 = future Korea, 6 = primitive future. I'll try to give descriptive names to minor characters.
Notes: I have only seen the film once and did not read the book, so there might be inaccuracies. Also, I will consider Halle Berry black, since mixed people with major black ancestry are usually regarded as black in the US and the UK. South Sea islanders aren't black and white either, but they are in the film. Whiteface/yellowface characters have an unclear racial identity.
SHORT OVERVIEW OF RACIAL PORTRAYAL
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OVERVIEW 1: WHITES
Positive "normal" (non-comical, non-primitive, straight) white characters:1: Adam Ewing, the mate praising the black slave Autua, Ms Ewing (whiteface)
2: Ayrs' wife (explicitly Jewish, whiteface)
3: Isaac Sachs the scientist (Jewish, judging by the name)
4: the shop clerk, Tim's girlfriend, the elderly rebel
Positive "abnormal" (comical, primitive, non-straight) white characters:2: Robert Frobisher, Rufus Sixsmith
3: Rufus Sixsmith
4: Tim Cavendish, his elderly friends, Scottish fans
6: all future primitives, except for the evil white primitives
Negative white straight or non-sexual characters:1: Ms Ewing's father, Ewing's doctor, Rev. Giles Horrox, the captain, the bearded 'tribesman' whipping Autua
2: Vyvyan Ayrs the old composer, the hotel owner, people knocking at the door in the beginning, the Nazi
3: the assassin, the evil CEO
4: Tim's gangster client, his three brothers, Tim's brother, the staff at the "hotel"
5: the rapist
6: Evil tribesmen, the devil (raceless?)
OVERVIEW 2: ASIANSNone of the Asian characters are "abnormal" in any way. They are young, unfunny, sexy, and straight.
Positive Asian characters:5. Sonmi, the other rebel fabricant, all other fabricants, the creepy collar-remover (yellowface), Hae-Joo (yellowface), the rebel militants ("abstract")
Negative Asian characters:
5. The interviewer (yellowface, ambiguous), the Uniformity leader (yellowface), the troops ("abstract"), the teens at the restaurant
OVERVIEW 3: BLACK OR MIXEDNone of the black and mixed characters are "abnormal" in any way.
Positive black or mixed characters:1. Autua (the escaped slave)
3. Luisa Rey, Joe Napier (the good security guy), Luisa's friendly boy, the friendly woman whose dog is killed
5. The rebel leader
6. Meronym, the Prescient man she contacts, the future children
Negative black or mixed characters:None. Perhaps the cannibals from 1, but the only explicitly evil one is the white man whipping Autua.
DETAILED OVERVIEW OF RACIAL MOTIFS
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OBSERVATION 1: PROTAGONISTSOf the 4 white protagonists (Ewing, Frobisher, Cavendish, Zachry), only Ewing is fully "normal" - and he's from the earliest period. Frobisher is homosexual. Cavendish is elderly, weak, comical, inept. Zachry is a primitive, far inferior to Meronym.
Of the non-white or pseudo-non-white protagonists (Louisa Ray, Sonmi, Hae-Joo, Meronym), all are "normal" and traditionally heroic. As pointed above, all non-white characters, excepting "yellowfaces" in 5, are blatantly flawless and good. All real Asians are good, too, except for the teens - reluctantly. Non-white actors don't play a single baddie.
OBSERVATION 2: AGE AND RACE, WHITE PEOPLE ARE OUTDATEDAll elderly whites are either evil or comical. The only possible exceptions are either of minor relevance (Cavendish's lover) or borderline comical (the elderly rebel). A major exception is Sixsmith, who is tragic and clever - but very prominently non-straight.
White people can't really reproduce (see below). While other races are represented by young and healthy people, many whites in the film are old. All old characters in the film are white, and there are tons of them. An entire chapter is about old whites. The only old non-white character I recall is the yellowface freaky doctor in 5.
The first and the last faces in the film are those of a hideously old white man, contrasted with young mixed-race children. When the black Meronym is old at the end of the film, she doesn't look old at all - unlike the ancient white Zachary.
OBSERVATION 3: GOOD WHITE CHARACTERS ARE GENERALLY FROM OUTCAST GROUPSOf the few positive "normal" white characters, two are Jewish. Many are "white trash", like the Scottish football fans or the primitives in 6. Homosexuality is another thing that makes whites good - Ayrs fails at it when he's given the chance, so he's bad. Old age also helps whites to become good, if it excludes them socially, as with the old people in the mansion. If old age doesn't turn them into outcasts, as with Cavendish's brother or with Ewing's father-in-law, then they usually become especially wicked.
OBSERVATION 4: MONOETHNIC EPISODESIn the "White" 4th episode, everyone is whimsical, old, weak, unepic, unpoetic. The world is mundane, boring, not divergent from our reality. Even there, the dominant "English" (usually right-wing in football context) are beaten up by the oppressed minority Scots (traditionally anti-conservative in British politics).
In the 2nd episode, every single character is decadent and powerless. Heroic struggle and action are absent. It features the only suicide.
In the "Asian" 5th episode, the only white (the rapist) is blatantly and perversely evil, and dumb. The only black (the leader) is unambiguously and heroically good, and smart. The Asian episode depicts humanity at its most progressive, if evil.
There are no monoethnic "black" episodes. One can, however, interpret all Prescients we see being black to mean that the future is black/mixed. Likewise, the future children are mixed.
OBSERVATION 5: WHITES HARM OTHER RACESThe whites are the only race brutally hostile to other races. The bearded white tribesman whips Autua. The white seaman shoots at Autua. The doctor wants to kill Autua. The assassin wants to kill Luisa Rey and her guardian. The white rapist violates the Asian fabricant. The primitive white tribesmen hurt Meronym.
Asians only harm their own race, and when they do, they do so in a civilised and high-tech manner. The white rapist kills himself through his own foolishness, the Asians do no harm to him.
Black and mixed-race people harm no other groups, except for evil individuals. When they are hinted to be dominant (the future), they don't interact with the primitives and don't harm them, except in self-defence.
OBSERVATION 6: WHITES ARE BARBARICALLY VIOLENTThe whites are the only race that is involved in explicit, unreasonable, first-hand violence. Frobisher is covered in his own blood and brains. The assassin murders Sixsmith violently. We're shown how the white critic is smashed into bits upon being thrown off the roof by a white. As primitives, whites wallow in gore, slitting and slitting and slitting throats. They even cover their horses in it.
Black and mixed people are all unambiguously good and non-violent. If they kill, they kill complete bastards: the doctor in 1 or the assassin in 3. Their murders are tame in nature. Even when the Mexican woman crushes the assassin with a sledge hammer, there is a notable lack of gore. Meronym's pistol is the ultimate "non-white" weapon, leaving no marks.
Asians do engage in violence against good people, but it's always sophisticated, non-deviant, and instant. The artery explosion. The death of the fabricants. Even when they pierce the fabricant's legs with huge hooks, there is no blood. Otherwise, they use pistols - but if white pistols result in gallons of blood, Asian pistols just abstractly "kill". If the Mexican is interpreted as an Asian, that might explain why her sledgehammer murder is so tame.
OBSERVATION 7: WHITES ARE UNREASONABLY VIOLENTWhites are the only ones who engage in violence that is completely unjustified and deviant. The assassin explodes a plane just to kill Sachs. The white CEO wants a nuclear explosion with thousands of innocent victims. The white savages routinely engage in murder for no reason at all. Even the good Scottish fans engage in violence that isn't really warranted.
Blacks and mixed-race people always do just and precise violence, since they are all perfect.
The violence of Asians might not be morally justified, but it is never really unlawful. Their violence is not something a deviant would do. The policemen are only trying to capture a criminal. The scientists are only processing artificial humans. The first fabricant is killed in a surgical, lawful way because of an obvious transgression. Asian violence is the expected violence of accepted authority, not the blatantly criminal violence of whites.
OBSERVATION 8: ONLY INTERRACIAL SEX IS NORMALAll interracial pairings - of which there are many - imply successful reproduction, and involve a fit man and a fit woman. Breeding isn't something to be ignored, seeing the image of numerous children in the beginning and the end. Ewing + whiteface wife = youthful, promising marriage. Sonmi + yellowface rebel = passionate sex. Frobisher + Ayrs' whiteface wife = normal sex. Zachry + Meronym = productive marriage. White rapist + fabricant = rape, but still actual sex between a man and a woman. It's also always white man + non-white woman; not sure how to interpret that. Asian teens engage in fairly harmless sex jokes one would expect from teens, but their symbolic intraracial sex results in violent rejection. Actual interracial rape = no immediate punishment, simulated intraracial rape = immediate punishment.
Interracial sex is shown to be productive and successful by the children in the end, who are numerous and happy. Likewise, success is implied by showing the Megan Sixsmith, the sophisticated niece of the white Rufus Sixsmith. Rufus' brother didn't engage in sex with whites, like his brother did, but went for an Asian - and look, here's the wonderful Megan. Silly Rufus!
OBSERVATION 9: WHITE PAIRINGS ARE INFERTILE AND WEIRDAll explicit white pairings are somehow flawed, and all are sterile. Frobisher + Sixsmith = gay, can't have children. Cavendish + his girlfriend = too old to have children. Old rebel in 4 + his girlfriend = too old to have children. Cavendish's brother + his wife = too old, no children, and the wife is a man. Ayrs + Ayrs' wife = too old, no sex, no children. Zachry + former wife = all children are murdered. Then there is potential pederasty between Frobisher and Ayrs.
The only healthy sexual relations between white people meaning potential progeny involve the young Tim Cavendish. But these merely accentuate his current impotence as a man: he was something in the past, and now he is nothing. His youthful body did not leave any progeny. The sex scene is emasculating and illegal for him, while for the Asians it is powerful and allowed.
OBSERVATION 10: DULL WHITE CHILDREN WILL ALL PERISHAll white child characters in the film are maimed (e.g., poisoned girl), threatened (young Zachry) or murdered (Zachry's white kids). Non-white kids never come in harm's way, and are always smiling. White children can only cry, mixed children are talkative, inquisitive, and resourceful. White children all violently perish, mixed children inherit the earth.
OBSERVATION 11: WHITE WOMEN ARE PASSIVE, UNLIKE OTHERSThere are no brave attractive white heroines in the film. The only remotely active white women are the seer and the old woman in 4. Ewing's wife = whiteface, and even then she is largely passive. Ayrs' wife = whiteface as well, and she's neutral and Jewish. Luisa Ray = black. First liberated fabricant = Asian. Sonmi = Asian. Meronym = black.
Most of the time, white women are passive sufferers whom nobody really wants; abandoned unfaithful wives. At best, they can wait patiently, like Cavendish's lover. There is a gradation:
A. pure white suffering and submission: the poisoned girl, Cavendish's lover, the wife of Cavendish's brother, primitive women
B. whiteface positive neutrality: Ayrs' wife, Ewing's wife
C. non-white strength and activity: Luisa, Sonmi, first free fabricant, Meronym
OBSERVATION 12: GOOD WHITE MAN = WEAK WHITE MANAll good white men in the film are physically weak and cannot fight. Ewing is sick and needs to be protected by a muscular black man. The good gays are tender and touchy, they can only harm old men and themselves. Cavendish is ashamed of his physicality as a young man. He is always bullied when he is old. Zachry is pathetic with his tiny knife; when he is strong and slits his enemy's throat, he commits a mistake. They are usually naive and a bit dumb, too; their only strength lies in their virtue.
White physicality is only good for jumping out of windows or, at best, pulling ropes while having intense psychological struggles.
Strong whites are ultra-evil. The tribesmen in 6 are the best manifestation of unhindered white strength. They remind me of the white "tribesman" in 1, whipping Autua. The assassin is another strong white, so he kills a little fluffy dog. At the very least, strong whites are major bullies - at worst, they are inhuman. Luckily, the black supermen can beat them.
Strong blacks, of course, are ultra-good. The stronger they are, the better. Unlike whites, they know how to use their strength to good means. Joe Napier is mighty and smart, but also a bit criminally involved. The more virtuous Luisa is even mightier and smarter, beating him and threatening him with a knife. Autua, likewise, is strong and wise. The Yellowface rebel Hae-Joo, likewise, is strong, physical, smart, and flawless - while the evil Asians don't really use physical strength.
A bit of an exception to this is the Scottish football mob. Perhaps in the absence of non-white characters, any minority group would do as the source of righteous violence. However, it should be noted that they lack the brain to use their strength. They are more of a neutral force, without the inherent righteousness of non-white characters. In fact, in ordinary circumstances, violent football fans are precisely the source of chaotic, unreasonable violence associated with whites in the film.''
''Blue-eyed, blond haired whites make an appearance just long enough to be shown savagely running the plant killing manufactured Asian hostesses. Throughout the movie, whites are constantly either being saved by blacks, exposing the racism of other whites, or being given the knowledge of the universe by a Korean woman.''
''I was initially excited about seeing Cloud Atlas, a three hour long movie set across six time periods with interweaving plots created by the same people who made the Matrix. Sadly, after 30 minutes into the movie I realised I was watching a left-wing propaganda movie with following themes:
Only white people can be racist.
All white people are criminals, rascals, idiots, cowards, thugs, annoying, sexist and bullies unless: 1) they are homosexual,
2) into race-mixing,
3) they’re devoting their lives to serve another race.
Non-whites possess superior athleticism, intelligence, fortitude, wisdom and courage.
4) “Our lives are not our own,” this theme is expressed as a casuality argument, but also as a collectivism argument for self-sacrifice for other people to justify murder, revolution and world war.5)
5) Past-lives and reincarnation are real, embrace Buddhism and killing people isn’t really that bad anymore.
One of the selling points for the movie is that the six plots are interweaved with each other, however the plots don’t actually meet up in a signficantly meaningful way. The only link is that the protagonist is meant to be the same person reincarnated each time, however, the protagnists don’t actually have anything in common except a birth mark. What the movie actually is is six 30-minute short stories retelling the same story over and over: white people suck and you need to sacrifice your individuality to the collective good of people who don’t care about you as an individual. It’s really quite pathetic that they thought simply jumping from one storyline to another would make the movie clever and interesting. If they’d just shown the 6 episodes in order I think everyone watching it would be forced to question if the movie was worth spending the money to watch.
Episode 1: Adam Ewing’s OdysseyEvil white people(/men) count: 5 (Reverend Gilles Horrox, Haskell Moore, Dr. Henry Goose, Ship’s Captain, Ship’s first mate)
Evil non-white count: 0
Redeeming quality of the one ‘good’ white man (Adam Ewing): He helps a stowaway black slave who convinces him via socialist guilt trip by making him hold a knife to his throat and making the absurd claim that if he doesn’t help him to get free he is just as guilty as if he’d killed him himself. At the end of the episode it is revealed that Ewing’s wife is an asian woman decorated to look ‘white’ but in fact this proves a very important point: racial differences are deeper than skin, eye and hair colour. She doesn’t look even remotely like a white woman and whenever I see someone do this I think to myself “if blackface is racist for a white because it mocks black people, then surely it is racist to put European features on an Asian as this mocks white people?” Anyway, the ‘good’ white man redeems himself by becoming an abolitionist because he ‘owes’ black people his life, his wife and the well being of his future family. That’s some sacrifice to pay a debt he never had an obligation to take on in the first place. Are you feeling the white guilt yet? If not, stay tuned.
Memorable scenes: A woman making it clear at dinner that all (white) men are sexist pigs and throws a hissy fit when they won’t talk about her issues and walks out. A black man makes a joke about how he doesn’t like “white” meat and we see the white man pee his pants while making a statement that the black man is so physically superior to him that if he wasn’t joking he could kill the fragile white man. A bunch of drunk, stupid white sailors saying ‘nigga’ all the time while a black man astounds them by proving to be an expert sailor… because apparently black sailors weren’t common back then (yes, the creators need to do some research here and acknowledge that black people back then did many impressive feats like own and sell their own people as slaves on sugar and cotton plantations). Then we see white sailors planning to kill the ‘nigga’ with no explanation given at all before or afterwards, because that’s what white people just do isn’t it? The fact that every atrocity committed against non-whites by whites was planned and directed by a central government that tyrannised and enslaved their white populations as much as the non-white populations just seems too much for the writers to contemplate apparently. No the problem is racial not ingrained government sociopathy.
Episode 2: The Sorrows of Young Robert FrobisherEvil white people count: 4 (Vyvyan Ayrs, Hotel Manager, Tadeusz Kesselring, the university staff knocking on the door)
Evil non-white count: 0
Redeeming quality of the one ‘good’ white man (Robert Frobisher): Despite being mentally unstable, irresponsible, hedonistic, a compulsive liar, callous, prone to vandalism, conceited and parasitic he is a good man because he is homosexual. That’s right fellows, a mountain of character flaws can be all forgotten and your villainous character presented in a positive light so long as you’re gay because that means you have victim cred. Once again we see the left-wing philosophy of measuring a person’s worth not on the fruits of their labour, but on how down-trodden they are percieved to be on the social heirarchy.
Memorable scenes: Dinner party where it is made clear that because the conductor is German he is automatically a Nazi-who-wants-to-kill-six-million Jews. Frobisher just casually fucks his employer’s wife without a shred of moral scruple because the poor woman was suffering being married to a geriatric millionaire. Oh that poor woman, choosing to marry money instead of for love, it was merciful and generous of Frobisher to fuck her. Good thing his gay lover didn’t get jealous because then he might have done something wrong but since he didn’t get jealous (that we know of) it’s ok, he’s a good person for committing adultery. Mind you, adultery as a minor offence comes up frequently as a theme in this movie, just saying. Of course, the young Jewess marrying a much older man for his money and estate actually does nothing for Jewish stereotypes so maybe the creators of this film were trying to tell us something else as well? The line, “You won’t do it, your kind never do,” when referring to a homosexual could also be interpretted as, “heterosexual men are the only ones capable of murder.” Finally, a talented composer with a devoted lover, kills himself calling it ‘courage’ even though he is running away from the law and the consequences of his own actions… I don’t care that he was gay, he was still an arsehole, however which way you want to look at it.
Episode 3: Luisa Rey, A Strong Independent NobodyEvil white people count: 2 (Bill Smoke, Lloyd Hooks)
Evil non-white count: 0
Redeeming qualities of the two ‘good’ white man (Rufus Sixsmith, Isaac Sachs): Sixsmith had an asian neice and was gay. Isaac fell in love with a black woman and was Jewish so not technically ‘white’.
Memorable scenes: The oil companies build a nuclear reactor designed to explode to promote the oil industry… seriously, if I wasn’t so appalled by this point in the movie I would have burst out laughing at how ridiculously obvious this piece of left-wing propaganda was. An entire plane full of people are killed just to get at one person and this is blamed on the PLO by the oil companies… WTF? Whatever they were on when they wrote this stuff it must have been good. Despite sinking so far under water that the pressure burst the windshield of her VW Beetle, Rey’s superior physiology somehow allowed her to swim back up to the surface safely. Lloyd Hooks made a sexist or dumbass remark every time he opened his mouth to drill home the point that white people suck. Ironically, instead of succeeding in making Luisa Rey look like a strong independent woman, what comes across is that she’s actually a nobody who is still living in her father’s shadow; because that’s the only thing that is actually going for her the whole time because otherwise she’s pretty damn stupid and dependent on another black man (who was friends with her father as well). Bill Smoke shooting a dog and making racist remarks is just par for the course at this stage of the movie so of course he is killed by an Asian woman (illegal immigrant) with a meat tenderiser, but we’re given the impression that this murder is completely justifiable because after all, he was just another evil white guy. I hate violence against animals, especially domesticated animals, but a racist remark and killing a dog does not make murder with a meat tenderiser ok, unless he is white. Oh, and a black woman speaking Chinese? Wow! That so made sense… not. (I like how some directors think putting random things like this into a movie somehow makes it magically ‘sophisticated’ nowadays, wit is a dead art form clearly).
Episode 4: The Cavendish AffairEvil white people count: 12 (Dermot Hoggins, Timothy Cavendish, Denholme Cavendish, Nurse Noakes, Nurse James, Georgette, Highlander, the three thugs, the children of the ‘inmates’)
Evil non-white count: 0
Redeeming quality of the one ‘good’ white man (Timothy Cavendish): Technically Timothy Cavenish is supposed to be the white heterosexual male with a redeeming quality, but I just couldn’t find one unless it was in being utterly pathetic? He is cowardly, unscrupulous, cheats with his brother’s wife, involved in organised crime gangs, has no self-control generally, is narcissistic, greedy and callous.
Memorable scenes: This was set in the UK so consequently almost every white person had to be evil or in some way loathesome or pathetic, the exception being a few minor characters who aided in the escape, but the episode did end with a drunken pub brawl so maybe not. The scene with the gangster Dermot Hoggins killing the critic was hilarious, but by this point in the movie I had already figured out exactly what was going to happen and so I found it entirely predictable. The line “I’m your brother,” (and so therefore you owe me) could have been taken straight out of Atlas Shrugged but clearly it wasn’t because it was used in exactly the opposite way Ayn Rand was getting at. That said, all six of these episodes are actually plagiarised from other author’s works and the only novelty in the story is how they supposedly interlink. Creative! /Sarcasm.
Episode 5: Somni-451, The Slave Who Becomes A SlaveEvil white people count: 3 (Seer Rhee, the only two employees of the Fabricant corporation seen in screen)
Evil non-white count: 1? (Not possible to tell because all of the soldiers wore masks making it impossible to tell their ethnicity, presumably to avoid being racist and to make it fine for Hae-Joo Chang to be a cold blooded killing machine).
Redeeming quality of the one ‘good’ white man: No good white people featured in this episode.
Memorable scenes: This whole episode is a copy and paste job of Blade-Runner with a page or two from Soylent Green thrown in randomly. Clap-clap-clap. However, it was highly disturbing because the characters don’t have any free will, once they know the ‘truth’ they lose all free-will apparently and must slavishly carry-out a suicidal act of rebellion that precipitates a world war killing almost everyone and destroying almost everything and thus setting the stage for episode 6. Yes, apparently starting a world war that kills everyone is just something you have to do sometimes when the truth pops into your life, and there’s just no moral abiguity about it. Furthermore, the revelation is about individualism and self-determination, it’s about a new moral code that prevents other people from acting independently because their lives don’t belong to them and they must now serve this one ‘truth’. Somni doesn’t seem to appreciate the irony of becoming a freed slave only to become a political slave afterwards, but she’s not actually that bright if you listen to what she says. Neo Seoul is probably every Korean’s worst nightmare for the future of their people and country, I’m curious to find out how Korean audiences will react to this movie, by walking out of the cinema and demanding a refund I hope. What really pisses me off is once again, the evil corporation who makes these clones (fabricants not replicants) is foreign (the ship) and the employees of this company are all, you guess it, white! Including a white woman who kills and guts a Somni clone. You can’t make this stuff up, white people are the most evil race in history, the Koreans could never have done this to themselves could they? No, white people had to be behind it all!
As for Somni’s revelation, “Our lives are not our own, from womb to tomb, we’re bound to others, past and present. And by each crime and every kindness, we birth our future,” that’s a very shallow and wishy-washy idea that is used by left-wing dictators all the time. Mind you, I noticed it was from ‘womb’ and not from ‘conception’, coincidence? Fuck you, Dave Mitchell, I own my own life, I have personal soverignty and the right to self-determination.
Episode 6: Zachry and the Asian Whore-GoddessEvil white people count: 8 (half a dozen cannibals (Kona), young Zachry (he apparently lacked courage in rescuing his friend from a dozen heavily armed cannibals?!?!), Old Georgie)
Evil non-white count: 0
Redeeming quality of the one ‘good’ white man (): He race mixes with a black woman and somehow manages to suppress his bloody white urge to murder defenceless people just for her but not for a white villain.
Memorable scenes: A tribe of whites asking a black woman about fusion power and looking incredibly stupid, actually this scene was hilarious because it was just so diametrically at odds with reality it was all too obvious what the creators of this film were trying to tell their audience: you white people didn’t earn your technology, wealth, power, intellect and prestige, it just magically landed in your hands and it could just as easily be handed over to non-whites who would patronise and humiliate you with it. Interestingly, when a white child gets sick the black woman from a high-tech society can’t interfere, but if you want to take the comparison back to the real world the black people should be bending over backwards giving the whites food, clothing, medical supplies, education and weapons just from the kindness of their own hearts, but instead, the blacks here contribute nothing to white civilisation just as they do today. Ironically, the primitive white tribe in the movie depicted as superstitious morons still actually possessed more technology than sub-saharan Africans ever achieved before whites came to the continent. That’s right, Africans didn’t have the wheel, metal working, two-story houses and failed to domesticate even a single animal species. Every single piece of technology Africans have today was invented by non-African (mostly white) people and generously provided to them but white people are still evil and this movie just can’t stop drilling this point in as even Zachry’s hallucination/demon is a white guy dressed up as a British gentleman (he was actually called ‘Old Georgie’! Subtle!) urging him to commit murder. When Zachry killed the white cannibal it was almost like a spiritual revelation of him killing the evil white cannibal man inside of him allowing him to ascend to another planet to live in paradise. To top it all off, the whites are worshipping an Asian prostitute as their goddess, a goddess of collectivism – the very ideology that white people, and only white people, have fought endlessly against throughout their entire history, this was symbolic of the spiritual defeat of the individualists against the oppression of the collectivist who argue that “your life is not your own.” Of course, if you’re a white person who was educated in a public school you probably don’t know anything useful about your history and heritage to get why this was so insidious.
Final Count
Final count of white villains: 29
Final count of non-white villains: maybe 1? He wasn’t really a villain now was he? Anyone who kills dozens of people and destroys large sections of a city just for one ‘fabricant girl’ can’t really be that bad can he?
Moral of the story: white people are greedy, vicious, stupid, arrogant, callous and murderous, but only through race-mixing, homosexuality and suppressing their individuality to the non-white collective can they be saved. While all non-whites are exceptional people. “There is a natural order to this world, and those who try to upend it do not fare well,” this natural order is presumably meant to be whites reigning supreme, they were in the first episode when this phrase was uttered, they were extinct as a people by the end of Episode 6 along with all of their achievements and culture, with the survivors living in high-tech African style huts on an alien world. Wishful thinking for the future?
Fuck that shit, we white people don’t need non-whites. We never have needed them. If white people stopped buying stuff from non-whites and stop selling and giving non-whites anything then let’s see just how well non-whites do without us. I suspect once billions of Africans and Indians begin to starve to death and China descents into a bloody civil war some people might wake up to the fact that the evil some white people do is far outweighed by the good that most white people do in the world and that white folk as a whole do not deserve to be subjected to propaganda movies like this that denigrate them and are pushed onto their children to break their pride and self-respect. This anti-white racist mentality needs to stop, because once white people are gone the world will not be a place you want to live on anymore.
http://intentious.com/2013/03/06/cloud-atlas-not-so-subtle-anti-white-racism/ 
