The Future is Black (and Female).mp3

00:00:01 Over the years, we've taken a look at how some films introduce and attempt to normalize new ideas, themes and ideologies to the empty vessels that are in the audience, audiences who are so wrapped up in the emotion or the trauma of the film that their minds are especially susceptible to suggestion.
00:00:21 And often soak up these messages like a sponge.
00:00:24 It happens to everyone.
00:00:25 It's happened to me.
00:00:27 And if you think it's never happened to you, it means it.
00:00:29 Happens to you the most.
00:00:31 One film I recently watched because one of you guys suggest that I take a look at it was the 2006 sci-fi movie children of Men, directed by Mexican film director Alfonso Cuaron, based on the book by Phyllis Dorothy James. Now, like usual, we will be focusing on the film because with.
00:00:51 Very few exceptions when books are adapted for film, they're they're just serving as a starting point in a brief outline for the screenwriters and take on a life of their own and are are totally separate.
00:01:04 From the book.
00:01:04 So we're just going to look at.
00:01:05 The film.
00:01:06 So before we even get.
00:01:07 Started this film.
00:01:09 Does not beat around the Bush.
00:01:10 It's very explicit with its pro immigration message and and it's demonizing of of the.
00:01:16 Native population.
00:01:18 In this case the.
00:01:19 The native British, so I thought I would take.
00:01:22 A look at.
00:01:23 Where we were in the so-called refugee crisis when this film came out, which was in 2006.
00:01:31 Wow would would.
00:01:32 You look at that almost as if they were pushing this film out as a means to condition people for what they knew lie ahead.
00:01:40 Anyway that that.
00:01:42 That's probably that's just a conspiracy. I'm sure that's, I'm sure I'm just being crazy. So anyway, let's have a look now before there's any images at all on the screen when just some of the credits are rolling, or it's just the screen's.
00:01:56 Black, we hear a voice, or we hear several voices of newscasters talking about authoritarian measures in Britain.
00:02:03 Borders are being.
00:02:04 Closed illegal immigrants are are being deported.
00:02:07 It's truly a bizarre world, and as much as that might sound like a dream come true to some of you, we can tell by the urgent tone.
00:02:15 Of the reporters and.
00:02:16 How these sound bites are stitched together with reports of war and societal breakdown all across the.
00:02:22 World that this is.
00:02:24 Just it's a scary leftist dystopia, you know, nationalist, totalitarian governments.
00:02:31 Seemed to have taken.
00:02:32 Control in response to some unknown crisis and.
00:02:35 The future is.
00:02:36 Bleak for anyone who embraces diversity in open borders.
00:02:39 And then boom.
00:02:40 The first images on the screen are of this dystopia.
00:02:45 We have Londoners mourning the loss of the youngest person on Earth.
00:02:50 Diego Ricardo, this person is the youngest person on Earth, but is only about 17 years old.
00:02:56 So right away the audience learns that something has gone horribly wrong with the.
00:03:01 Fertility rate in.
00:03:02 Fact it's so bad it's it's nonexistent.
00:03:05 So only in a few seconds into the movie actually like I think less than.
00:03:09 A minute into the movie, we're getting this exaggerated panic inducing version of one of the key justifications for allowing millions of refugees into Europe.
00:03:21 You know that the birth rates there aren't high enough.
00:03:23 We need to let.
00:03:24 All these people in.
00:03:25 To add further to the urgency that the fictitious youngest person on Earth.
00:03:30 Is shown to have.
00:03:30 Been born in in 2009 so.
00:03:33 For the audience.
00:03:35 In 2006, this nightmare scenario is only three short years away. I mean, don't you understand the birth rates of the native Europeans are dropping and the only?
00:03:45 Way to fix.
00:03:46 It is to import millions of foreigners year after year after year after year.
00:03:49 There will be.
00:03:50 No discussion about why birth rates are dropping or or whether or not that's even.
00:03:54 A problem that.
00:03:55 Negatively impacts anyone, but the rich ruling class who?
00:03:58 You know, thanks to the the capitalist.
00:04:00 Usery model, but a constantly leveraging things they they require this constant constant grow.
00:04:05 Both or let's say maybe.
00:04:07 Maybe it is a problem.
00:04:09 So what are?
00:04:09 What are some other solutions solutions that actually address the problem itself?
00:04:13 The low birth rates.
00:04:14 Themselves and not a solution that creates A multitude of other problems so that a line on a graph on some bureaucrats computer moves in the direction that they want.
00:04:24 But of course.
00:04:26 We all know.
00:04:26 By now, they're far darker motives for importing the third world.
00:04:31 It's not about economics.
00:04:32 It's not about lines on graphs.
00:04:34 We all know how broken up the.
00:04:36 Ruling class is that the Y middle class is being dissolved and atomized along with their communities and that.
00:04:44 Ohh, no competing power structures are going.
00:04:47 Along with them.
00:04:48 But that of course, is for another video. In 2006, the official line was people weren't breeding enough, and all the old.
00:04:55 People, they're they're going to die.
00:04:57 Your grandma's gonna die.
00:04:58 Your parents are.
00:04:59 Gonna die, you.
00:05:00 Know nobody's gonna be there to fund their pensions.
00:05:03 You might die when you get old.
00:05:04 We have to import these third worlders because.
00:05:07 Because they will become doctors and engineers and.
00:05:10 And they'll fund.
00:05:11 The retirement of your grandparents and your parents, and so you better support it.
00:05:16 Or they'll all die because of your bigotry.
00:05:18 So all of this is is set up within the first minute of the film, and you know it's no accident that the director is a Mexican immigrant himself and.
00:05:27 You know it's.
00:05:27 Only going to get worse, so let's proceed.
00:05:30 We're in London in.
00:05:32 2027 it looks.
00:05:34 Very multicultural and dystopian so.
00:05:37 You know the film makers got that.
00:05:38 Right.
00:05:39 And there's also a terror attack that happens immediately after meeting our protagonist Theo Faron, played by Clive Owen.
00:05:47 When the shop he was just in watching about the youngest person dying explodes.
00:05:52 So I guess the film makers kind of got that bit right too.
00:05:55 So after surviving the terrorist attack, Theo goes into war.
00:06:00 And he has some kind of drab, boring office job.
00:06:04 I don't know that he even really explains what it is.
00:06:06 It's not.
00:06:06 Really important.
00:06:07 Everyone in the office is crying about the loss of of the youngest person and and watching all these videos of of little baby Diego and Theo uses this as an opportunity to get out of work.
00:06:21 And boards of train to get out of the.
00:06:23 Sitting once on the train, we see propaganda playing on the screens in the train that depicts a world in chaos, riots and and war seems to be, you know, covering the globe.
00:06:36 But London is safe.
00:06:38 Be glad that.
00:06:39 You're here in London.
00:06:40 This idea that London is a safe haven, though, is it's quickly.
00:06:43 Shattered by the appearance of people outside the train, hurling rocks and and shouting at the Occupy.
00:06:50 But when Theo gets off the train, we see the train station has a heavy police presence, machine gun wielding guards stand at attention and there's cages full of refugees awaiting deportation.
00:07:04 Theo is welcomed by who we assume as his father, a long haired hippie named Jasper played.
00:07:09 By Michael Caine.
00:07:10 And this character, like every character in this film, is representative.
00:07:15 Of one of.
00:07:16 The groups that this film is attempting to influence.
00:07:19 So let's see who we have so far.
00:07:20 We have the straight white male.
00:07:23 The protagonist of the film, the film's main target for influence because the.
00:07:27 People behind the film know that.
00:07:30 This demographic, the white males, are going to be the hardest to convince that allowing hordes of third worlders into their lands into their homes and and and convince them that this is an acceptable thing to do.
00:07:44 That's that's they're gonna be the toughest sale.
00:07:46 So it's no accident.
00:07:47 At all that.
00:07:47 The protagonist, the main character is a.
00:07:50 Straight white male.
00:07:51 Who slowly comes to accept these ideas?
00:07:54 And we also have his father, who's the the older straight white male, the relic of the 60s, the the boomer generation who actually already embraces these changes without any convincing.
00:08:05 At all in in.
00:08:06 An attempt to remain cool and and relevant.
00:08:10 They've already feasted upon the the spoils of of post.
00:08:13 World War 2 and and now, as their their lives, are coming to an end.
00:08:18 They have no problem handing.
00:08:19 Over their nations to foreigners, no matter how badly it screws things up for their children and grandchildren, their narcissism.
00:08:26 Makes it impossible to even consider these things.
00:08:30 You know the the the pretty.
00:08:31 Young people on TV.
00:08:32 Tell them that it's racist not to.
00:08:34 Give away their country and their heritage.
00:08:36 So by God, they're going to.
00:08:38 Be the first ones to.
00:08:39 Hand it over.
00:08:40 They have nothing to lose.
00:08:41 And they have everything to gain.
00:08:44 Just like with everything else their generation did, they will let their children worry about the consequences when they're gone.
00:08:51 The two drive to Jasper's house, which is hidden in the forest because, like the stereotypical boomer hippie that he is, he is secretly growing weed in the woods. This dried up old hippie is the the wise.
00:09:03 Sage of the film and of course, this place right into the ego of any boomer.
00:09:08 That might be in the audience.
00:09:09 This is the character that.
00:09:11 They will be connecting.
00:09:12 With the man who might be in.
00:09:13 The the autumn of.
00:09:14 Years, but he was a rebel back in.
00:09:16 The day and.
00:09:17 Still sticking it to the system by growing weed and supporting mass immigration later on.
00:09:23 Theo is back in the city.
00:09:24 He's walking to work and we see more refugees and illegal immigrants in in cages.
00:09:31 And then suddenly he is kidnapped.
00:09:34 The kidnapper is taken to a secure location of some sort, and we find out he's been kidnapped by his ex lover.
00:09:40 Ian, who is played by Julianne Moore.
00:09:44 Now Julian, represents another demographic.
00:09:47 But as her character indicates, much like the boomer demographic, she hardly needs any convincing to support mass immigration at all.
00:09:55 In fact, she's.
00:09:56 A general in this terrorist organization that supports mass immigration.
00:10:01 And is fighting the evil nationalist government.
00:10:04 Julian represents the white women we see all over the West who, like the boomers, also side with the pretty people on TV, telling them what to do.
00:10:13 But unlike the.
00:10:15 Rumors who have grown old and can only offer support to the cause in the form of money and and other resources.
00:10:23 Julian is still young.
00:10:24 Enough to be.
00:10:25 On the ground, fighting for the oppressed, as we'll also see in a moment, this character that influences the protagonist, because this is the demographic that influences why.
00:10:36 A man. What?
00:10:37 Better way to get a man to do something.
00:10:40 Irrational than with a woman.
00:10:42 This is influence.
00:10:43 101 You know, intelligence agencies have been using honey pots for decades or more, or you can even take it all the.
00:10:48 Way back to.
00:10:49 Adam and Eve.
00:10:50 The devil knew it would be easier to convince Eve to.
00:10:53 Take the fruit and.
00:10:54 Then get her.
00:10:55 To influence Adam.
00:10:56 Then, if he had just gone straight to Adam.
00:10:59 The role of man.
00:11:00 Has always played this role throughout history and she plays it again in the.
00:11:04 Film and on streets.
00:11:07 Everywhere across the West.
00:11:09 So Julian, using her powers of Persuasion, convinces Theo to help her get transfer papers for refugee they are moving to somewhere.
00:11:19 For some mysterious reason, Theos cousin has access to these papers because he's high up in the.
00:11:25 Nationalist government.
00:11:26 So all he has to do is go to his cousin and and convince him to give him the papers.
00:11:30 And so when he does.
00:11:32 As we're also treated to a view of how the nationalist party lives, you know the decadence of the nationalist juxtapose with the dystopian conditions of the masses further drives home that these evil fascists aren't doing what they're doing to protect the people, but to enrich themselves.
00:11:52 Which is a pretty dark.
00:11:53 Irony for anyone who actually understands the economic forces behind mass immigration.
00:11:58 But you?
00:12:00 Much like the the Antifa protesters that fancy themselves fighting the system, despite holding every view of every major corporate entity and the views of the the billionaires that that own them, the audience, you know, the same thing that the audience most of the audience, they're already primed to think in this.
00:12:20 Backwards inverted way and and and do and easily embrace this notion that they're somehow, you know, supporting the underdog.
00:12:28 So Theo acquires the papers and meets with the terrorists, but unfortunately he's going to have to actually accompany the refugee because of some technicality with the kinds of papers he was able.
00:12:39 Again, so we now meet two more characters that represent relevant demographic groups we have.
00:12:46 Miriam, who represents the feminist cat lady demographic, she's fat and unattractive.
00:12:53 And she's so abandon.
00:12:55 Her white heritage that she's even.
00:12:57 Sporting a head full of.
00:13:01 Now this demographic is is similar to the Boomers and that their their motivation for supporting these causes is that it feeds into their ego and it obscures many of the failures in their lives.
00:13:14 You see, her life isn't meaningless.
00:13:16 Living in an empty apartment smelling like cat ****, you know, that's.
00:13:21 She's a freedom fighter fighting against.
00:13:23 The the very people she's hated her entire life.
00:13:26 Straight white men.
00:13:28 And now we have key key is the refugee that the terrorists are are smuggling out of the country for reasons we'll discover later.
00:13:36 He, of course, is perfect.
00:13:38 She's young and smart and funny and honest.
00:13:42 She just wants to do the right thing.
00:13:44 She's not a threat.
00:13:45 You'd have to be a racist.
00:13:46 To not want to help someone.
00:13:48 ** *** is the.
00:13:49 Perfect immigrant.
00:13:50 The kind of the government will be putting in pamphlets telling you about how they're going to be doctors and engineers now on the way to their destination, the group is ambushed by marauding bandits and end up shooting some of the.
00:14:01 Cops Julian, having served her purpose by convincing the white man.
00:14:05 To go along with the plan.
00:14:07 Is killed in the chaos no longer needed.
00:14:09 And and.
00:14:09 Just discarded the.
00:14:10 Group flees to a safe house in the countryside and now we have discovered why this straight white male has had to sacrifice so much and will continue to do so.
00:14:21 He is pregnant.
00:14:25 In this sci-fi childless world, he is the key to the future.
00:14:32 It's a miracle of.
00:14:33 Biblical proportions.
00:14:35 And the director is not exactly being subtle about this either.
00:14:38 I mean, look at the setting.
00:14:40 All that's missing is a Manger and a star glowing over keys head.
00:14:45 She and her baby.
00:14:47 Are the future of.
00:14:48 The world and this white man must sacrifice everything.
00:14:52 So far his, his livelihood and the love of his life.
00:14:55 And we're just getting.
00:14:56 Started to ensure the future, not not for himself or for his child.
00:15:01 Which, by the way, this might be a coincidence, but they.
00:15:04 Mentioned that his child.
00:15:05 Died in the big flu.
00:15:08 Yeah, that's right.
00:15:09 There's only kid.
00:15:11 That he had with Julian died in a worldwide.
00:15:14 Flu pandemic.
00:15:16 But anyway?
00:15:16 Well, that's something else.
00:15:18 So now he can risk it all.
00:15:19 Everything else that he.
00:15:20 Has left to ensure the future for.
00:15:23 Refugees and illegal immigrants like Kei and their children.
00:15:28 It's so disgustingly obvious what this film is is doing.
00:15:32 At this point it's it's hard to.
00:15:33 Get through the rest, but.
00:15:35 I managed to the soldier on, we learned.
00:15:39 That there is a conflict because some of the terrorists want key to have the baby at the safe house and then use the baby as a propaganda tool in their war against the nationalists.
00:15:50 But others want to take key to some scientists.
00:15:54 Known only as the human.
00:15:56 Project who can be reached at.
00:15:58 See later that night.
00:16:00 In fact, we find out that Julian, who wanted to take the baby to the the human project, wasn't killed by random bandits like everyone thought, but that it was actually an ambush.
00:16:12 You know the plan.
00:16:13 It was a.
00:16:13 Plan by the terrorists to get her out of the way, which again.
00:16:17 You know, once, once the white woman.
00:16:19 They served her.
00:16:21 She was no longer needed and no longer wanted and just tossed away like a piece of garbage.
00:16:26 Theo manages to overhear all of this and decides.
00:16:30 That because the future.
00:16:32 Is still black. He has to get key to the human project and he convinces Key and the Cat lady to flee with him to his father's house.
00:16:41 The the home of the.
00:16:42 The wise old boomer Jasper.
00:16:45 Now at at this point, there's kind of a Lowell in the film, you know, everyone seems like.
00:16:49 They're safe, the.
00:16:50 The film makers really want you to.
00:16:51 Get to know and to like key.
00:16:54 And there's images like this that you know really kind of drill it into your head that the the aging white population is the past and she's the future Jasper, the Pro immigration boomer, through his connections, manages to arrange for the group to be smuggled into a refugee camp.
00:17:15 It's on the shore so they can meet up with this human project.
00:17:19 His connection is an immigration cop that he sells.
00:17:22 Weed to which of?
00:17:23 Course is another way to impress upon the audience the hypocrisy of the authoritarian nation.
00:17:29 Lists or or.
00:17:30 They they themselves.
00:17:31 Are breaking the same laws that they're.
00:17:33 Deporting and and arresting other people for.
00:17:35 Unfortunately, the the terrorists who are hunting Theo the cat lady in key show up after Theo has gone and the boomer hippie, like many others in this film, makes the ultimate sacrifice.
00:17:50 To ensure the future.
00:17:52 Of the refugee child, Theo and.
00:17:54 Company then meet up.
00:17:55 With the fascist immigration cop and he's exactly what you'd expect.
00:18:00 You know, he's wild eyed and dumb and violent.
00:18:04 He holds up.
00:18:05 His side of the bargain.
00:18:06 He gets them on a bus to the.
00:18:08 Refugee camp.
00:18:08 They want to go.
00:18:09 To so they can go to the shore and.
00:18:12 And meet the human project.
00:18:14 When they get to the camp, however, the the cat lady now must lay down her life.
00:18:20 She must sacrifice everything so the guards don't notice that she is pregnant one by one, every white person helping out this refugee is dying.
00:18:31 Is giving everything and then dying for the future of her child.
00:18:36 Once on the inside of the Mad Max style refugee camp, Theo delivers.
00:18:42 He's baby.
00:18:43 It's a healthy girl because the future isn't just black, it's female.
00:18:47 Now we're going to kind of Fast forward through the next bits because it's mostly.
00:18:51 List action sequences where well, Theo has to be heroic.
00:18:54 Quick and and has run INS with you know first the fascist cop who sees Theo on TV and now wants the reward the terrorists from earlier in the film who want the baby the the British Army.
00:19:07 Who's who's trying to stop the insurrection that's going on in the refugee camp.
00:19:14 But really.
00:19:15 All that matters now is that Theo, now that he's he's sacrificed his livelihood, he sacrificed his woman.
00:19:23 He sacrificed his parents.
00:19:25 He's done everything to ensure the safety and the future.
00:19:28 Of the refugee child.
00:19:30 All that he has left.
00:19:32 Is to give.
00:19:33 Up his life like everyone else, you know, fade gracefully away like his parents.
00:19:40 And like his love and like the cat.
00:19:43 Lady, give everything to these people until he has nothing left to give and then get out of the way.
00:19:50 Because the future is black.
00:19:52 And now he's just a thing of the past.
00:19:56 He's obsolete.
00:20:00 He's the end of his people.
00:20:04 For Black pilled, I'm Devin stack.
00:20:08 If you like my videos, make sure you like and subscribe and make sure you share if you want to support.myworkingdoso@patreon.com/black pilled or subscribestar.com/black pilled or one of the crypto addresses below.
00:20:23 Or get a copy.
00:20:23 Of my book the link is in the description.