The New York Times follows up on a story I covered a few weeks ago about how a high quality Broadway musical based on part of War and Peace called Natasha, Pierre & the Great Comet of 1812 has been driven off the stage and out of business.
A ridiculous Diversity Dispute about how the show was trying to whitewash Tolstoy by having Broadway legend Mandy Patinkin (Evita, Sondheim’s Sunday Afternoon in the Park with George) replace an African actor, Okieriete Onaodowan (previously James Madison in Hamilton), who had failed to attract audiences after he had replaced Josh Groban.
By MICHAEL PAULSON AUG. 29, 2017
It’s another example of the growing rule that once you go black, you can never go back.
Some Jews seem to assume that all this talk about Crushing White Privilege doesn’t apply to themselves. If push ever comes to shove, they’ll just have a little talk with their close Person of Color friends and explain that they’re not exactly white, so of course they don’t have to give up any of their so-called “White” Privileges.
They haven’t actually had this talk with PoCs yet, but they can imagine just how smoothly it will go when the time comes.
Mandy Patinkin (Inigo Montoya in William Goldman’s The Princess Bride and currently on the Israeli-originated TV show Homeland) is considered by many Jewish Broadway fans to be a particularly Jewish star in whom they take pride.
But to the blacks who denounced his hiring and got the show shut down, Mandy Patinkin is just another White Guy with White Privilege.
The single most influential potential swing constituency in the ongoing racial power struggle is the ethnocentric Jewish bloc. If they start to realize that pushing further in demonizing whites will not be good for the Jews — because, to nonwhites, they’re white — dissent will become more allowable.
At this point in history, however, due to the long ban on their being criticized or even analyzed in non-schmaltzy terms by gentiles, ethnocentric Jews (e.g., Bret Stephens) aren’t very self-aware anymore.[Comment at Unz.com]