CSI: Crime Drama as Semitically Correct Investigation
by Victor Wolzek
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March 22,
2003
AMERICA'S #1 TV DRAMA, CBS's
CSI: Crime Scene Investigation, ought to be called SCI:
Semitically Correct Investigation. The revised acronym alone -- SCI -- would be
appropriate, since the show's habit of creatively re-interpreting
true-crime stories to fit anti-White ideology makes it even less
like a science-based drama than were the liberal morality tales of
traditional post-'50s TV science fiction (e.g., Star Trek,
Twilight Zone
). While most dramas based on real events change
certain elements "to protect the innocent," CSI's semitical
correctness functions to do the exact opposite: it not only protects
the guilty, it projects their blame onto the innocent. In 2002 alone
at least three of CSI's
most gruesomely shocking episodes -- based on America's most horrific
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crimes -- have been guilty of gratuitous race
reversal, in which real-life Black hyperviolence is depicted as
pathological behavior found in Whites and White
communities.
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In "Anatomy of a Lye" (May 2, 2002, episode 44), a
man hit by a car flies forward and smashes halfway through the
windshield. He's alive and conscious, but with two broken legs he's
helplessly stuck, impaled through the shattered glass. Instead of
calling 911 or taking the victim to a hospital, the driver continues
home and parks the car in his enclosed garage, with the trapped man
still protruding from the windshield. The driver leaves the dying
man there for two days, ignoring his cries of pain and pleas for
help, until finally there is silence - after the victim bleeds to
death.
CSI 's fictional killer is
a "successful White man," a callous corporate attorney who wasn't
about to let the death of some "nobody" interfere with his busy
schedule or his important career. It is a well-worn assumption in
semitically correct entertainment that inside every White man is a
merciless killer waiting to get out.
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The problem is, the real killer wasn't a
White man at all. It was a run-of-the-mill, dime-a-dozen, Black
woman: 25-year-old Chante Mallard. A nurse's aid (!) who was drunk
and high on Ecstasy when she plowed into Gregory Glenn Biggs, a
37-year-old White man, with her car. The details of the real story,
too, are even more horrific than CSI's version.
Mallard didn't merely ignore Biggs's
pleas for help once she had driven him home and concealed him in her
garage. She went inside her house, ate Doritos, and had sex with her
Black boyfriend, all to the morbid soundtrack of Biggs's desperate
moans. Once Biggs bled to death -- two days later -- Mallard's
boyfriend and his brother dumped the body. Chante Mallard was caught
after she laughed about the killing three months later at a
party. Her friend Maranda Daniel recounted, "Shantae [sic] giggled
when she said, 'I hit this White man.'"
How does such a heinous Black crime get pawned off
on Whites, and why? It's easy to understand the transformation from
reality to media representation once one knows the middlemen
involved, as per the credits: "Written by Josh Berman
& Andrew
Lipsitz; directed by Kenneth Fink;
produced by Jerry Bruckheimer Productions." |
Actual
killer.
Actual victim.
Jews'
Scapegoat. |
In "Let The Seller Beware" (October
10, 2002, episode 49), CSI probes the death of a White,
suburban high school cheerleader who is found eviscerated and
cannibalized on a soccer field. As the plot unfolds, it is revealed
that the unlikely killer is another young, White cheerleader, who
was jealous of the victim. The killer had a crush on the victim's
boyfriend. She met secretly with him on the soccer field and
together they smoked what they thought was marijuana. The marijuana,
however, was laced with the powerful hallucinogen PCP. When the
boy's girlfriend unexpectedly showed up, the high and disoriented
girl's jealously turned into a murderous, primal rage. She attacked
her female competitor, killed her, and, like an animal, ate flesh
torn from the corpse.
As unbelievable as it may seem, this horrendous
story comes straight out of the real world. Only, once again,
CSI reversed the races. It wasn't a White
suburban teenage girl attacking another in a fit of drug-induced
jealous rage. Much more plausibly, it was yet another young Black
male who committed these savage inhuman acts. Rapper Antron
Singleton, known as Big Lurch, smoked PCP, murdered 21-year-old
Black woman Tynisha Ysais, chewed her face, tore open her chest with
his hands and a 3 inch knife, ate part of her lungs, and was later
found naked in the street, covered in blood. Once again the usual
suspects are the middlemen transforming Black horror into White
pathology: "Written by Andrew Lipsitz & Anthony E. Zuiker;
directed by Richard J. Lewis; produced by Jerry Bruckheimer
Productions." |
CSI translates reality into semitically correct fantasy every
time. |
Finally, CSI's "Blood Lust"
(December 5, 2002, episode 55), foists not merely a specific Black
crime on Whites, but a whole genre of crime: mob murder. The
episode opens with an Indian taxi driver distracted by an attractive
passenger. Spying the passenger in the rearview mirror, he feels his
cab strike something at a suburban intersection. When he gets out to
check, he finds a White teenage boy pinned beneath the rear tire,
apparently killed on impact. The Indian jumps back into the taxi to
call for help, but a mob of angry onlookers -- all of them White --
drags him out and beats him for what appears to be an attempted hit
and run. The Indian cabby is battered into a coma, and he later dies
at the hospital. |
At one point, Warrick, the
green-eyed mulatto investigator (played by Gary Dourdan) asks Sara,
his White colleague (played by Jorja Fox), if she thinks the attack
on the cabby was "racially motivated." Sara doesn't skip a beat:
"Yes. White mob. White victim. Dark-skinned driver. I don't like the
math."
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Bad math, indeed. It doesn't take a
numbers whiz to realize the chances of this scenario happening as
scripted -- a mob of Whites spontaneously attacking and killing a
non-White (or White) for any reason -- are more than a million to
one. Blacks, however, commit this kind of mob murder several times a
year. In the past six months, there have been two particularly
appalling murders by a mob of Blacks.
In Chicago, July 30, 2002, an angry
mob of Blacks pulled two Black men out of a van and beat them to
death after their vehicle crashed into the front steps of a South
Side building, injuring three women. The murderers, who just moments
before had been random Black citizens going about their business on
a public street, sprang into a mob frenzy and collectively beat the
two men with "bricks, stones, sticks and their hands and feet,
police said."
In Milwaukee, October 2, 2002, Charlie Young Jr., a 36-year-old Black man,
was chased for blocks, dragged from a house, and beaten to
death on the front porch, by a mob of 16 Black youths,
ranging in age from 10 to 18. Young was attacked in broad
daylight as neighbors |
Kris Kime alive and
well.
Kris Kime being beaten by a a mob of his 'fellow citizens,' who 'just happen to be Black.' He's beaten to death.
Court says, "Not a hate
crime." |
watched. The mob battered him with bats, shovels, rakes and
sticks. A witness reported hearing them jockeying for use of the
different weapons, "saying 'Hey, let me use that,' It was like a
game to them." |
These recent acts of tribal savagery find precedent
in the 2001 Black-on-White "love crime" of White 20-year-old Kris Kime, who was beaten to
death in Seattle by a mob of Blacks for daring to rescue a White
woman from this same mob. Also in the April 29, 1992, attack on
36-year-old White man Reginald Denny, who was pulled from his truck
and beaten nearly to death by a Black mob because he was
White. Caught on video, the Black attackers danced and cheered
as they took turns smashing Denny's head with bricks.
Denny lived -- with a crushed face and severe brain
damage.
Again, "Bloodlust" pays God's Self-Chosen middlemen
many shekels to translate reality into bite-size morsels of easily
swallowed semitical correctness: "Written by Josh Berman
& Carol
Mendelsohn; directed by Charlie
Correll; produced by Jerry Bruckheimer
Productions."
VICTOR WOLZEK |
Savage city Blacks
dance and laugh as they crush the skull of White truck driver Reginald Denny. Denny survives -- with severe
brain damage Court says, "Not a hate crime."
Jew Jerry Bruckheimer with his kind's favorite "weapon of mass destruction." |
Note: Versions of this essay appear in National Vanguard Magazine
#119 as well as the book, TELEVITZ: MEDIA, POLITICS, AND SEMITICAL CORRECTNESS, by Alex Linder and Victor Wolzek, forthcoming from VNN Books Spring
2003. |
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