Sunday, 6 May 2018

Welcome To The Colosseum: Britain's Got Talent

… Already long ago, from when we sold our vote to no man, the People have abdicated our duties; for the People who once upon a time handed out military command, high civil office, legions — everything, now restrains itself and anxiously hopes for just two things: bread and circuses (Juvenal, Satire 10.77–81)

All of us are lying in the gutter, but some of us are dreaming of a three legged dog on a skateboard. 

At the court of King Simon Cowell (yeah, I know) one thing and one thing only is demanded of the consumer units dragged up on stage, it is that they entertain. In a society in which all major decisions are made by think tank, PR spin doctors and central bankers in face-time calls to the Deep-State, the powerless goyim need to be entertained, they need those circuses and that is what Britain's Got Talent (BGT) provides.

 It's entertainment as blood-sport, the masses get to leer and cheer at their brethren who've had the audacity to try and crawl out of the banality of the night-shift and supermarket checkout and into the limelight. The God-King Simon has the power to break somebody's spirit forever or catapult them into the stars with nothing but an over-sized buzzer and a carefully manicured eyebrow. 

 Britain's Got Talent has no time for left wing egalitarian nonsense, it is brutal, entertain or die, entertain or have four buzzers pull the plug on the music and lights and leave you standing alone on a stage in the dark with 10 Million people giggling at you. Not all acts are equal, some are more entertaining than others, and only the most entertaining stand a chance of surviving Simon and his panel of talking hairdo's.

 Neither is Britain's Got Talent as politically correct as one might think, the first episode of the new series featured a dance troupe of young girls from Manchester. Calling themselves ''RISE'' they're essentially a tribute act for the other young girls blown to pieces by a Muslim nail bomb last year, the most prominent girl lost the ability to walk and now sits in a wheelchair.
The nicest selection of white girls you'll see all year are terror victims

It's interesting that these girls were allowed a place on the largest platform in the country to highlight their suffering at the hands of a Muslim terrorist, still more so when we notice that they're gloriously white British. So what is going on here?

 It's almost impossible to overdo the bread and circuses analogy when exploring BGT because providing a circus for the masses literally is the purpose of the show. BGT is essentially the Colosseum, however, it is not the place or venue for the cultural battles and political tumult taking place out in the provinces, it is not the home of the SJW fruitcake, it is the mainstream. Its purpose is not to be a vanguard or push boundaries but to normalize and offer a cathartic release. 

 The issue of Islam in Britain festers in the public mind, and like with the BBC drama ''Three Girls'' the mass media has to find ways of dealing with it without deconstructing their narrative. And so the dance troupe from Manchester are allowed a platform to perform, however, Islam or extremism will never be mentioned or alluded to, it's more that these girls suffered a shark attack or earthquake or some other natural disaster. 

 In a sense the thorny issue of Islam and the increasingly agitated masses is sanitized and made something banal, it, like everything else, can be dragged from the cultural badlands and paraded in the Colosseum for the entertainment of the masses. In that way it can be absorbed and internalized by the masses, it becomes part of our national life.
Atrocity Exhibition 

 A young black man from Hackney could appear on BGT and rap against knife crime in London, and he'd be loved for it, Simon Cowell once fluffed the pronoun of a tranny, he simply corrected himself without much fuss. Once again, issues usually deemed ''problematic'' are normalized and presented to the populace without the hysterics and preachy bullying of a dyed in the wool leftist.

 Would it be possible for the Manchester dance troupe girls to do a performance focused on Muslim rape gangs, could the Colosseum regurgitate that thorny issue for the public? No. The issue of inter-ethnic rape and sex crimes against children is too raw for the mass media machine to handle, that can not be sanitized or presented to the masses as simply being part of the British experience, because the ramifications would unravel the entire ethos of the society which the media machine has created and holds together. 

 The most insidious aspect of BGT is difficult to pin down, it's hard to hate a show which wants you to hate it and revels in its own imbecility, there's nothing to land a punch on, it's like fighting a cloud of gas. In the second episode a smash hit was a soprano singing 16 year old girl from Malta called Amy:

She and her voice, the music, the whole package are quite lovely. Most people watching will very rarely, if ever, be exposed to such music. So why then should far right traditionalist fascist type such as me be complaining about it?

 My problem is that Amy is sandwiched between a Mongolian making clicking noises with his tongue and dogs on skateboards, a man hopping on a wooden leg and a man with cerebral palsy doing a stand-up routine mocking his robot voice. My problem is that European art and beauty has been whittled down to just another easily digestible lump of ''entertainment'' to be consumed before the intergender drag routine arrives. 

 I noted above that the judging system is authoritarian and fascistic, however, the starting premise of BGT is that absolutely everything is merely entertainment. Is Bach entertainment? is Shakespeare the equivalent of an addictive video game?

 Of course Amy is more sublime than a parrot dancing on a string, the problem is that she has to compete with such drivel in the first place. In a hierarchical culture with a healthy spiritual life and sense of itself Amy would be lauded in the halls of the powerful and the parrot would be entertaining drunks in a tavern. But in post-modernity everything is ground down into entertainment value, there is no high or low, no true beauty or ugliness, just the whims of the plebs and their Judaic God-King media moguls.   


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