From: mars1933@hotmail.com   
      
      One of most successful British cultural exports of the last decade,   
   Midsomer Murders draws large audiences around the world-particularly   
   in the United States, Canada, Australia and New Zealand. The   
   long-running series is known for its quaint English village setting   
   which provides the backdrop for classic   
   (if clichéd) murder mysteries.   
      
       The program made international headlines in March when True-   
   May was suspended by ITV. Asked in an interview to account for the   
   show's international success, he said his winning formula was quite   
   simple: keep it as English as possible. He pointed out that the series   
   simply "wouldn't work" if there was any racial diversity portrayed in   
   the sleepy village set in the fictional county of Midsomer. "We just   
   don't have ethnic minorities involved. Because it wouldn't be the Eng-   
   lish village with them," he told the Radio Times. "It just wouldn't   
   work. Suddenly we might be in Slough . . . We're the last bastion of   
   Englishness and I want to keep it that way. Maybe I'm not politically   
   correct. . . . I'm trying to make something that appeals to a certain   
   audience, which seems to succeed. And I don't want to change it."   
      
       Predictably enough, an ITV spokesman immediately issued a   
   statement:   
      
   We are shocked and appalled at these personal comments by   
   Brian True-May which are absolutely not shared by anyone at   
   ITV. We are in urgent discussions with All3Media, the producer   
   of Midsomer Murders, who have informed us that they have   
   launched an immediate investigation into the matter and have   
   suspended Mr. True-May pending the outcome.   
      
      ITV was captured by the Judeo-Marxist establishment long ago,   
   and Jewish editorial control at ITV has been ensured for the next gen-   
   eration with the recent appointment of the 32-year-old Jonathan Levi   
   as head of ITV's arts and popular culture division. The situation at   
   the BBC is little different.   
      
      Behind the suspension of True-May was a tacit threat: his program   
   needs to modify a successful formula in the interests of promoting the   
   multicultural ideal of Britain's cultural-Marxist (and Jewish-   
   dominated) intellectual establishment. This "last bastion of English-   
   ness" must cease, even if this means undermining the very basis of the   
   program's success. The apparent concern is not that Midsomer Murders   
   is inaccurate in its portrayal of typical rural English   
   villages-which, to the dismay of many, are still overwhelming White,   
   but rather that the program constitutes, in some sense, a   
   "celebration" of this fact, and by extension, exploits a nostalgia and   
   yearning for England as it was prior to mass Third World immigration   
   and state-sponsored multiculturalism. This is anathema to an elite   
   that has contempt for the traditional people and culture of England,   
   and an incomprehension of the web of traditions and prejudices once   
   revered by the English.   
      
      Observing the contemporary assault on the English, conservative   
   philosopher Roger Scruton notes that "every practice in which the   
   spirit of England can still be discerned seems fated now to arouse con   
   tempt."1 Unfortunately Scruton cannot see, or simply refuses to see,   
   the Jewish elephant in the room as he attempts to account for this per   
   nicious trend:   
      
       The forbidding of England is a strange phenomenon and one   
   that is hard to explain. The country was always victorious in   
   war, and was not impoverished even by the loss of its empire.   
   No outside force compelled it to relinquish its national pride and   
   culture. The process came from within, and seemingly without   
   resistance.   
      
      Scruton apparently fails to notice the pursuit of Jewish group   
   interests manifest in the various intellectual movements that have   
   formed the basis for what he terms the "culture of repudiation" that   
   subjected the old virtues, customs and religion of England "to   
   humiliating scorn by the makers of public opinion."3 He is correct,   
   however, in observing that this "culture of repudiation" found   
   particularly fertile soil in the cultural landscape of post-war   
   England.   
      
      With the destruction and disruption of World War II, the austerity   
   and chaos after that war and the manic suburbanisation of the country   
   that came with the prosperity of the fifties and sixties, it was   
   easier than ever for the English to be persuaded that significant   
   parts of national existence should be altered forever. In an   
   incredibly short time they turned England into a nation without heroes   
   and without pride in its past. "All those features of the English   
   character which had been praised in wartime books and   
   films-gentleness, firmness, honesty, tolerance, 'grit,' the stiff   
   upper lip and the spirit of fair play-were either denied or derided.   
   England was not the free, harmonious, law-abiding community celebrated   
   in boys' magazines, but a place of class divisions, jingoism and   
   racial intolerance."   
      
       While ostensibly unable to detect the etiology of his "culture of   
   repudiation" Scruton aptly defines its conceptual outlines:   
      
   While exhorting us to be as 'inclusive' as we can, to discriminate   
   neither in thought, word, nor deed against ethnic, sexual or be-   
   havioural minorities, political correctness encourages the deni-   
   gration of what is felt to be especially ours. . . . We who live in   
   the amorphous and multicultural environment of the postmodern city   
   must open our hearts and minds to all cultures, and be wedded to none.   
      
      Into the vacuum left by the collapse of English self-confidence, a   
   new ideological conformity has emerged. The new empire of ideas   
   reaches into the most intimate areas of life, and those who do not ac-   
   cept it are held to be personally at fault, not just politically or   
   philosophically wrong. It is the most fanatical system of thought to   
   dominate the British Isles since the Reformation. Indeed, failure to   
   conform to the new orthodoxy is held to be a moral failing and   
   evidence of psychopathology. The effects of the culture of critique on   
   English society have been so devastating that it is entirely fair to   
   make an analogy with Mao Zedong's Cultural Revolution in China. It has   
   devalued objective knowledge and attempted to make many thoughts   
   unthinkable. It has sundered many of the invisible bonds that once   
   held English society together. The lore of the English tribe and the   
   stories of their ancestors have largely ceased to be.   
      
      Meanwhile, under the banner of "social justice" the "oppressed"   
   Brown and Black immigrant communities are given complete license   
   (and White taxpayer-funded assistance) to affirm their cultures and   
   aggressively pursue their group interests. The crucial goal, with re-   
   gard to the native English, is to "sever young people from historical   
   loyalties" and instill "a 'non-judgmental' attitude towards other cul-   
   tures that goes hand-in-hand with a fierce denunciation of the culture   
   that might had been one's own.   
      
      Under the new cultural orthodoxy the traditional English virtues   
      
   [continued in next message]   
      
   --- SoupGate-Win32 v1.05   
    * Origin: you cannot sedate... all the things you hate (1:229/2)