JOHN CLEESE AND THE "COMEDY" OF HATING WHITE PEOPLE IN THEIR OWN LANDS

London is a racist anti-White city.

by Daniel Barge

Comedian John Cleese has come under fire for a tweet in which he said that London is no longer an English city. Of course, according to the mainstream media, ethnic fast-tracked politicians like Sadiq Khan, and cucked White politicians and commentators, he is the "racist" here. 

So what did Cleese tweet?

"Some years ago I opined that London was not really an English city any more.
Since then, virtually all my friends from abroad have confirmed my observation
So there must be some truth in it...
I note also that London was the UK city that voted most strongly to remain in the EU."

Yes, the man is not even complaining. He is just politely noticing the ethnic, racial, and cultural changes in a familiar city. And that makes him the "nasty, evil racist"; not those moving in and using their tribal, racial, and religious networking skills to push out the original inhabitants and then control London's politics and "terraform" it in their own image(s):

An "English" city?

While many shrill voices were raised by Cleese's milquetoast remarks, the response the media have focused on the most is that by London's Muslim mayor Sadiq Khan, the man infamous for his quote about terrorism being "part and parcel" of life in a big city, the same mayor who has presided over a vast increase in Black gang crime, stabbings, and acid attacks.

This eminent worthy accused Cleese of acting like his most famous character Basil Fawlty. This was supposed to be a kill shot. But was it?

Actually the character of Basil Fawlty is extremely interesting in a history of culture sense. He fits into a pattern of intended comedy "hate figures" rolled out over the years on British TV in order to push attitudes in a more "progressivist" direction. In short, he was a parody of mildly traditionalist and ethnocentric modes of thought in the British public. But, contrary to expectations, rather than being loathed and despised as an example of how not to behave, the character became greatly loved by the great mass of the British public, who ended up completely identifying with him.

Other examples examples of a similar process are Alf Garnet and Alan Partridge.

Garnett, who was the same central character of several series on BBC and ITV, was an attempt to mock the working class Tory voter, the kind of people who turned out in their droves to support Enoch Powell when he was unfairly fired for drawing attention to the problems and much greater potential problems of mass immigration in his famous and much-revered "Rivers of Blood" speech. Played by Jewish actor Warren Mitchell, Garnet became the nation's unlikely darling.

Alf Garnet (right) with his leftist son-in-law (left) played by, believe it or not, Tony Blair's father-in-law.

Alan Partridge, a character created by Italian Scot Armando Iannucci and Catholic-Irish-origin actor Steve Coogan, started out as an attempt to mock Middle England and its awkward and unenthusiastic embrace of "progressivist" (i.e. anti-English) values, but soon became a national treasure, much to the chagrin of its Leftist creators.

Likewise with Basil Fawlty, although Cleese obviously played his character with a degree of genuine sympathy. The comedy of the character came from his traditionalist outlook constantly rubbing up against more "modern" ways, along with his healthy English distrust of foreigners, typified in his relationship with the incompetent Spanish waiter Manuel, played by Jewish actor Andrew Sachs, but by no means restricted to it. Other ethnic targets were arrogant Americans and oversensitive Germans.

But unfortunately for the haters, rather than the British people laughing at Cleese as an example of outmoded social attitudes, they laughed in sympathy with him at his irritations, frustrations, and fears which they shared, especially as the UK was becoming increasingly enmeshed in Europe at the time.

Naturally, the BBC did not make much of an effort to prolong the life of this extremely popular comedy series. In all only 12 episodes were made, while less "problematic" comedy series of the same era, like Dad's Army, Some Mothers Do 'Ave 'Em, Are You Being Served? (which would now be considered "homophobic") and It Ain't Half Hot Mum (which would be considered not only "homophobic" but extremely "racist") ran for years and years.

Political correctness and a healthy national identity are incompatible. So, when Sadiq Khan says, "These comments make John Cleese sound like he's in character as Basil Fawlty," he simply means that being English is an unforgivable sin.

When he says, "Londoners know that our diversity is our greatest strength," he means "Are there still White English people here? When are they leaving?"

The English are now clearly second-class citizens in their own country, and like a helot class they have been conditioned to "shut their dirty mouths." Their tongues have been ripped out by an oppressive culture that uses the lash-term of "racist" to deliver to them nothing but anti-English racism, and the most racist part of England is the capital London, which is why even the Brexit Party had to head their list of candidates with a non-White. A White candidate associated with even an implicitly soft nationalist or self-determinist cause like Brexit would face actual physical assault in many parts of racist Britain.

A love of demographic stability is inbuilt in all humanity. In fact, it is entirely legitimate to defend it not only with activism but even with military action. This is how any normal, healthy, free people behave. But the English, as surely as they were enslaved in 1066 under the Norman boot, are now crushed and enslaved under the jackboot of political correctness, as their country changes around them without their consent. Their only option of resistance is to vote for an anti-European politician who promises more immigration from the Third World or take a character meant to mock and demean them to their hearts.

Resistance is loving the characters they create to mock you, like Alan Partridge.

Calling the English "racist" is clearly the worst example of victim blaming ever.

So, who is imposing all this racism on the English? Mainly it is an elite class of self-selecting Whites, assisted by some lippy non-Whites, who, in the absence of earlier class divisions, have managed to turn a cult of ethnomasochism and universalist moralism into a new suicidal hierarchy of social moral and cultural control on the nation.

It is no accident that these types are increasingly rubbing up against people whose high status has nothing to do with their ability to function within a hive mind, i.e. people who have earned their status through real talent, people like John Cleese, Morrissey, Roger Daltry, and Michael Caine, who also have the added bonus of being old enough to take a few chances with their public utterances.

But just look at the contempt with which such dissent is treated. Guardian writer James Felton, a typically talentless member of the what we must come to call the "social media ruling class," churlishly points out that Cleese is planning to move to the Caribbean, as if that too is some sort of kill shot:

Hi I'm John Cleese. Today I'll be complaining there are too many immigrants in London from my home where I live in the Caribbean.

The last time I checked the island of Nevis, where Cleese is supposedly moving to, is not losing its Afro-Caribbean character due to a vast influx of old White English comedians moving in.

But when the Twitter mob attack, the first rule is never apologise. Cleese understands this:

I suspect I should apologise for my affection for the Englishness of my upbringing, but in some ways I found it calmer, more polite, more humorous, less tabloid, and less money-oriented than the one that is replacing it.

The second rule is to strike and strike again. Here he is explaining what drives the hysteria of political correctness:

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