Mary Queen of Diversity

Diversity Macht Frei
February 24, 2019

Having just watched Mary Queen of Scots, I am forced to conclude that it is perhaps the most extreme example yet of the bogus diversification of history on screen. You could say that maybe King Arthur and his Posse of the Round Table was worse. But the King Arthur story is basically a fable anyway, so adding a few more layers of fantasy to it doesn’t seem quite as bad. Mary Queen of Scots adheres broadly to the facts of history, which makes its crazy additions of random diversity seem all the more galling.

Diversity punches in the face from the first minute of the film. As Mary Queen of Scots walks to her execution spot, a negro stands leering at her side.

The next minute, the story skips back to Mary’s landing in Scotland from France and Diversity knees us in the groin as we see that she has a brown-skinned handmaiden with her.

After that its back to England and Diversity headbutts us unconscious to the ground as it seems one of the top bods at Elizabeth’s court was a negro.

This negro even acts as Elizabeth’s ambassador to Scotland. Soon he is flirting with Mary and fondling one of her female companions.

 

All of this is especially absurd in that Elizabeth is known to have issued warrants for negroes to be removed from the country.

Her Majestie understanding that there are of late divers blackmoores brought into this realme, of which kinde of people there are allready here to manie, consideringe howe God hath blessed this land with great increase of
people of our owne nation as anie countrie in the world, whereof manie for want of service and meanes to sett them
on worck fall to idlenesse and to great extremytie. Her Majesty’s pleasure therefore ys that those kinde of people should be sent forth of the lande, and for that purpose there ys direction given to this bearer Edwarde Banes to take of those blackmoores that in this last voyage under Sir Thomas Baskervile were brought into this realme the nomber of tenn, to be transported by him out of the realme. Wherein wee require you to be aydinge and assysting unto him as he shall have occacion, and thereof not to faile.

But in this movie Diversity isn’t content with just beating us unconscious to the ground. It insists on kicking us in the head while we’re there.

Which is to say that racial diversity isn’t enough for this movie. It has gay sex scenes and a tranny too.

The tranny in question is David Rizzio, an actual historical figure who, in real life, was Italian. But here the role is played by a Puerto Rican actor with obviously non-European features.

Director Josie Rourke has boasted of consciously eschewing historical accuracy.

“We know that the characters that Gemma and Adria and Ismael Cruz Cordova [play] were white,” Rourke told Refinery29. “So those are people of colour playing those who were historically not people of colour.”

Rourke added, “That is very influenced by my theatre background, where that sort of thing is done. When I sat down with [the studio] early, before we got down to a lot of stuff, I said to them, ‘Just so you know, I’m not doing to direct an all-white period drama. That’s not something I’m going to do.’ And they were really hugely supportive of that.”

No, it’s not Boris Johnson. This is the elegant Miranda Kaufmann, playing rugby.

Rourke said she was influenced by the book “Black Tudors” written by the Jewess Miranda Kaufmann. which in typical Jewish fashion, tries to sell the idea that the presence of 200 or 300 blacks in 16th century England somehow marks the country out as diverse, with the unspoken but obviously intended implication that Goyim attempts to assert an ancestral identity are therefore absurd; that only the Jews have a true genetic essence, with the self-proclaimed peoplehood of the Unchosen being nothing but a socially-constructed artefact, frangible and ready to fall apart upon the first application of Jewish critique. Hahaha, Goyim, you don’t really exist!

Kaufmann, desperately but unsuccessfully, attempts to trivialize the “negars and blackamoores” letters in the Elizabethan archives. She triumphantly makes petty, but ultimately irrelevant points, viz. that the “negars and blackamoores” were to be transported by a specific Dutch merchant who had rendered some service to the crown; that he may have been a spy; that masters refused to give up their negroes to be transported; that the letter may not have been publicly proclaimed (irrelevant, as most open warrants were not).

None of this matters. The significance of the letters is in their indication of the general contempt in which negroes were held. ” of which kinde of people there are allready here to manie”, “and like Christians rather to be served by their owne contrymen then with those kinde of people”.

If you wonder why film-makers are so eager to seize on the specious history served up by the Kaufmanns (Merchants) of this world, then wonder no more. In Britain, most film projects receive public subsidy. Since 2014, the agency awarding these funds has required film-makers to show a “commitment to diversity”. I predicted at the time that this would quickly lead to a Sovietesque propaganda cinema, and I was absolutely right.

And the brown people are relishing their racial appropriation of our history. Gemma Chan, who plays a slant-eyed handmaiden to Elizabeth, exults in it.

Chan, who earlier this year appeared in Crazy Rich Asians,told Marie Claire last week that she never would have expected to end up in a move like Mary Queen of Scots. “I was warned when I left drama school that a lot of the U.K.’s film and TV output is period drama, and there was absolutely no way [I’d get roles]” she said. She compared the movie to Broadway’s Hamilton: “I think Hamilton was described as ‘America then’ played by ‘America now.’ This is ‘England then’ portrayed by ‘England now.’ It’s about time.”

I don’t think England is that far gone, dear, and Scotland certainly isn’t.

Assuming patriotic governments come to power in future, we should consider passing laws regulating the historical accuracy of period dramas. Hit them where it hurts: the cash register. Ban the sale or transmission of racially anachronistic movies, or require special permission for them, and they will soon stop making them.