- Also Known As:
- Unknown
- needed to precede following dl
- Review Format:
- DVD
- Countries:
- Predominant Genre:
- Science‑Fiction
- Directors:
Directors Allan Kroeker Omar Madha Michael Nankin 
Directors Todd Slavkin Scott Stewart Andy Wolk 
- Outstanding Performances:
- None
- Premiss:
- Post‑apocalyptic future‑world.
- Themes:
- Advertising | Aggression | Alienation | Courage | Curative | Destiny | Emotional repression | Erotophobia | Ethnicity | Genocide | Gynophobia | Loneliness | Love | Materialism | Narcissism | Nostalgia | Parasitism | Passivity | Political | Political Correctness | Pornography | Propaganda | Republicanism | Sadomasochism | Schizophrenia | Sexual Repression | Solipsism | Stereotyping | Totalitarianism | White culture | White people | White privilege | White supremacy
- Similar to:
- Unknown
The usual unimaginative alien‑invasion shite from Whites terrified by the:
- Terrorism they provoked;
- globalization that means millions of People Of Color (POC) colonizing parts of the world Whites think are their sole preserves;
- economic & social decline their racist capitalism creates; &,
- declining White birth‑rates caused by White erotophobia and by the White cultural superficiality that offers them little reproduce for.
Whites fear these demographic changes because they can do so little about them and, thus, can no longer claim to be the Master Race.
In this tv series, Whites are human – everyone else, inferior; allowing the screenwriters to continue peddling White supremacy, while closely‑ and paradoxically‑plotting its demise. There is, for example, no explanation as to the source of the newly‑advanced technology on display - even though there is no manufacturing nor economic infrastructure in evidence to explain its existence.
There is really no reason for humanity (ie, Whites) to survive in this drama, since they are:
- Not particularly likable;
- have superficial cultural values; &,
- are not as technically‑advanced as the aliens shown.
White culture is shown as it actually is but, as usual, without this being explicitly stated. It is a fortress to exclude those whom Whites arbitrarily‑decide to hate, in order to define themselves by the threats they think exist outside their social fortress – but which, mostly, only exist because of the pre‑existing creation of that fortress.
Into this solipsistic, White‑created world of a multiplicity of human survivors ruled by White people, we are confronted by a drama that refuses to accept the fact of collaboration – a commonality of all the occupied territories in human history. Yet, here, humans and aliens gang‑together to defy another group of aliens - any human traitors are shown as hiding in the wings rather than being openly‑collaborationist, as if the writers believe such people could not possibly exist in the real world they succinctly evade. This bizarre utopian‑dystopia does not show humans as they really are; while Whites are realistically‑presented as endemically‑nostalgic for a lost past that they are unable to re‑create (which never existed, anyway), save through the fantasy of against‑the‑odds defiance.
Additionally, the aliens here do not possess a nature, at all; their only function being to look alien rather than to be alien – because Whites cannot see beyond the physical appearance of others to dramatize their inner essence.
What we have here is a genocide of Whites, when Whites are the one usually committing the genocide – but without any dramatic honesty about why aliens would do this, when it must surely be for the same reasons Whites would: Lebensraum.
The great anti‑democratic White hope here is that Whites will still be in charge – in the future – when they are no longer an ethnic majority. Like White culture itself, this drama and its imagined future is little more than empty ritual; signifying very little of substance; hence, the inevitable lack of even a token attempt at adequate characterization. This, not even the best actors can ever possibly overcome.
The usual problem with American tv shows – the weak acting and the dramaturgical inability to write characters who behave any differently from present‑day Whites – is well to the fore here; giving us no insight into how people change their behavior when their situation changes. Do people engaged in combat really behave much the same as they do in peace, or is it just that Whites do not know the difference between the two states because their cultures are constantly at war with someone, anyone – at all times?
There is also in evidence the peculiar White fascination with incontinent sexual intercourse, as if sexual desire were something uncontrollable and can only be enjoyed in a rush, rather than as something to be savored for a much deeper experience. Sex depicted as if it were no more than going to the toilet to relieve oneself after holding it in for ages, as if women were sex objects to be jumped on whenever the opportunity presents itself. Do White people not masturbate to relieve their tensions; leaving the actual intercourse for love‑making? Or are Whites so deeply erotophobic that acting impulsively is the only way they can excuse doing something they secretly believe is basically dirty?
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