Netflix’s Ibram X. Kendi ‘documentary’ is extremely racist and radical

“What is wrong with black⁢ people?” These are the first words spoken in‍ the captivating Netflix “documentary” Stamped from the Beginning. Adapted from ⁤the bestseller Stamped‌ from ‌the‌ Beginning: The‌ Definitive History of Racist Ideas in America by self-proclaimed antiracist ⁤”intellectual” Ibram X. Kendi, this film ‌takes viewers on a thrilling journey through six centuries of racism to uncover the origins ​of “anti-blackness.” Critics have hailed​ it ‍as “heart-poundingly‍ persuasive,” “radical,” and “well-paced and affecting.” However, despite the accolades,‌ the end product⁢ is shockingly terrible.

Radical Black Women ⁤Only

One of the major issues with the film lies⁤ in its choice of experts. Kendi himself serves as the primary ⁣narrator, accompanied by a lineup of ⁤hard-left activists and professors, all of whom​ are black women.⁣ Director Roger ⁢Ross Williams intentionally‍ selected this group to reinforce the⁢ film’s‌ message,⁣ stating⁣ that “Black women were always at the forefront of the resistance movement⁤ and, in my eyes, never get their⁢ due.” Reviewers have praised their candidness, but their biased statements, such as calling Thomas Jefferson “full of ⁤sh-t,” do not⁢ lend credibility⁢ to ⁢the historical claims made.

The ⁣roster⁣ of commentators includes esteemed figures like Dorothy ⁢Roberts, Imani Perry,⁢ Elizabeth Hinton, Lynae Vanee, Brittany Packnett Cunningham, Honorée Fanonne Jeffers, Brittney ⁣Cooper, Carol Anderson, Cori Bush, and the influential Angela Davis. These women possess‌ numerous graduate degrees, have authored multiple books, and even have vice presidential candidacies under their​ belts. However, it is important to note that Davis has also faced criminal charges related to⁤ terrorism. Despite⁢ their⁤ accomplishments, their‌ lack of objectivity is evident in their ⁣statements.

The blatant ‌bias of the presenters is just one of the many⁣ flaws in “Stamped ‍from the Beginning.”

Lies, Errors, and Distortions

For a film presented as a straight⁢ historical⁣ documentary telling the real truth about anti-blackness, it is chock-full ⁢of factual errors, historical misrepresentations, and deliberate ⁢lies.

The famed Portuguese supporter of exploration, ⁢ Prince Henry the Navigator, is said to have been motivated primarily by the ‌quest for slaves and​ invented anti-blackness as a rationale for enslavement. This is untrue.‍

Not only would Henry⁤ not need a justification for slavery‍ — ⁤something ‌viewed as unproblematic in ​the 1400s — but ​he⁣ was not‍ looking ⁢for bodies to exploit. He was ‍moved instead by his religious desire to combat Muslim foes and ‍convert others, the ⁣potentially lucrative trade in gold, and the importance of prestige through knowledge⁢ generation in 15th-century‌ Europe.

“Stamped”⁤ heavily misrepresents Bacon’s Rebellion, the 17th-century⁤ uprising that presaged the American Revolution. The film argues that this colonial Virginia insurrection, ⁤which seriously threatened the⁣ stability of English rule in its oldest ⁤American colony, was a ‌multiracial fight ⁤against inequality and the oppression‌ of slavery and indentured servitude. It⁢ is‍ compared directly to the 1968 race riots, Occupy Wall Street, and 2020’s summer of violence.

In reality, the rebellion was a complex combination of an internecine elite ⁤feud, broad revolt against unfair mercantilist economics, and an anti-Indian crusade for land.‌ Were both black and white people involved in ​the action? Yes. Was that at all the purpose⁢ of said action? Certainly⁢ not.

The “Myth ⁤of the Black Criminal” segment contains myriad omissions⁣ and⁢ distortions that obliterate its central contentions — that modern policing is the equivalent of‌ lynching, that white violence is ignored while black violence is exaggerated, and​ that blacks are being “massacred” ​by the forces of “white supremacy.”

The greatest issue here ⁣is the complete absence of population-adjusted statistics on crime. When one‌ sees ​the numbers, it is clear‌ that black criminality — and, concurrently, ‌ black victimhood — ⁢is highly disproportionate to population size. African Americans comprise​ about 14 percent of the population but account for 26.6 percent​ of ⁣arrests. This includes 51 percent of murder arrests,⁤ 53 percent of robbery arrests, and 27 percent of‌ rape arrests. ‍These are decidedly inconvenient facts for the experts⁤ in “Stamped,” so⁤ they disregard them.

Another malicious falsification or ‌egregious error⁣ is the discussion⁤ of “King Kong” as a racist film that dehumanizes blacks. In a montage of​ purportedly anti-black propaganda, a poster⁢ is displayed, showing an angry black⁢ ape holding a partially nude white woman with the ​text “Destroy this mad brute.” The problem⁣ is that this cartoon is not anti-black but ⁣anti-German. It is an American WWI recruiting ⁤poster, as can be seen in the full image. The ape is sporting a Kaiser mustache, wears a Pickelhaube marked with “Militarism,” and holds a club labeled Kultur. The word “Enlist” rests below. One could see this ⁣as a hilarious mistake, but the cropping of the ⁣poster is quite suspicious.

The dissembling on matters of historical fact⁣ and interpretation⁤ is⁣ bad, but so is the film’s broader‌ message.

Anti-White Racism

One ⁤pernicious theme is the differential treatment of whites and blacks. “Stamped” routinely depicts⁢ white people as a monolithic bloc. The film‌ ascribes actions, motivations, and ideas to​ the phenomenon of “whiteness” itself. Fitting ​with the premise of the documentary, “whiteness” is treated as ⁣inherently evil. Among its negative aspects are‍ hatred of “black excellence,” insatiable hunger for power and​ the willingness to “do anything”‌ to keep ⁣it,⁣ and the centuries-long torment and repression of “black,‍ brown, and tan people.” White people are grouped into a coherent and malevolent whole,‌ blamed in the present for the ‌sins of the past. They hold all‍ the power and choose to⁢ laser-focus‌ it on exploiting​ everyone else.

Blacks are treated entirely differently, depending on what works in the moment. Sometimes they are treated as individuals with the agency ⁣to break through the racist system ‌and challenge white supremacy.⁢ The film centers stories of individual black women, excising‍ the white people who aided⁣ in their ⁢success. The publication​ of Phillis Wheatley’s poetry and Harriet Jacobs’ ‍slave‌ narrative leaves out the white publishers who ‍brought these works to⁢ print. The contributions of white people to the⁢ abolition of slavery are ‍severely downplayed, including the omission of the myriad Americans who died to end it.

At ‌the same time, “Stamped” lumps blacks together as⁢ an oppressed group lacking agency when convenient. Blame for black violence‍ and⁢ other poor outcomes is placed on a‌ racist system that cannot be overcome. The shackles of history weigh heavily on the present. Blacks are put in an agency.

Superposition ‌is a concept that allows individuals to navigate their own path ‍while also facing the oppressive forces ⁤of whiteness. It’s a powerful idea that resonates throughout the ⁣film, even though it may not reflect reality.

Conflation and Deceptive Juxtapositions

“Stamped” cleverly presents its⁤ radical ideas through a skillful combination of imagery, voiceover, and thought-provoking ⁣comparisons to historical injustices. It skillfully blends offensive blackface portrayals with realistic depictions of urban crime in films,⁤ including clips ‌from black directors.

The film portrays white people as villains throughout‌ history by juxtaposing imagery of‌ the ⁤Ku Klux ‌Klan, slavedrivers, and neo-Nazis with footage from Trump rallies. It even ‌equates the 18th-century interrogation of Wheatley with modern congressional​ hearings⁣ for Anita Hill and Ketanji Brown-Jackson. The‌ film also highlights⁣ the concept of “white privilege” and anti-black ⁢racism by showing inoffensive footage of white families, ‌including children. This approach​ is not subtle ​and seems to fuel animosity ​towards white individuals.

The film confidently presents these⁤ radical ideas as if they were common knowledge. It ⁤describes​ black‌ crime and drug issues as tools⁣ used by white supremacy to maintain racial dominance through “order.” However, this portrayal⁤ contradicts⁣ reality,‌ as black people actually ‍support similar or higher levels of policing⁣ compared to‌ white people. Additionally, the film promotes the ​radical sentiment​ of defunding the police.

The film justifies violent riots‌ as rebellions against white supremacy. ⁢It portrays white individuals who volunteer to help black communities‌ as “white saviors” with malicious ⁢intentions. The film also presents ⁣the outrageous theory ‍that the wealthy ‌white elite ⁤have conspired for ​centuries to ⁢unite whites against blacks,‍ perpetuating the oppression of the lower class while hiding their immense power. These claims are presented⁣ as undeniable⁤ facts by so-called “experts,” but they are truly absurd.

The Antiracist⁣ Express

All of the absurdity​ and fabrication in this documentary serves one purpose: to establish Kendi’s ​radical ideology of antiracism as⁢ the only acceptable path forward. Anyone who refuses to‍ accept the “truth” that modern Western society is as racist ⁣as it ⁤was in 1619⁢ is labeled a denialist and cast​ as a bigot.

Interestingly, the film ⁢consistently attacks ⁤liberals, ⁢portraying them as part of the white ⁣power structure‌ that seeks to maintain its racist dominance. ⁢Even President Joe Biden, former President Bill Clinton, the musical‍ “Hamilton,” CNN host Don Lemon, and former President Barack Obama are included in this critique.

According to​ Kendi ⁢and his followers, there are only two sides: racist and antiracist. If you’re not⁣ actively antiracist, you’re automatically considered racist.‍ There is no room for compromise ‍with this⁤ ideology.⁤ It’s up to us to​ confront and defeat this toxic worldview if we want to⁢ preserve the ‍blessings⁤ of America ⁢for future generations. ⁢And if “Stamped from⁢ the ‍Beginning” is the best they can offer, then it should be a relatively ‌straightforward task.

What impact does the omission of crucial‌ information, such as Michael Brown’s involvement in a ​strong-arm robbery and assault, have on the film’s ‌credibility and portrayal of racial bias?

State-sanctioned violence ​against black people and that ⁣the‌ criminal justice system disproportionately targets and punishes black individuals. The film makes sweeping generalizations and fails ⁣to provide the necessary context and evidence to support these claims.

For example, the film wrongly‌ suggests ‌that the police killing ‌of Michael Brown in Ferguson, Missouri,⁤ was an unprovoked act of violence based solely‌ on racial bias. It conveniently ignores the⁢ fact that Brown had just‌ committed a strong-arm⁢ robbery and assaulted a police ​officer prior ​to the encounter. This ​information is⁢ crucial to understanding the‌ sequence of events, but ‌”Stamped from⁣ the ⁢Beginning” chooses to‌ omit it.

The film⁢ also fails⁤ to acknowledge the higher crime rates in predominantly black ‌neighborhoods, a factor that ⁢contributes‌ to police ⁢presence⁢ and the targeting of those areas. It instead presents ​a one-sided narrative ⁢that portrays black individuals as⁢ victims and ignores the complex ‍societal issues at play.

The ​film also ​neglects to mention​ the numerous initiatives and‌ reforms that have been implemented in recent years to address ⁣concerns around racial ‍bias and police misconduct. These include the ​implementation of ‌body ‍cameras, increased training on de-escalation techniques, and the establishment of oversight⁣ boards to hold law enforcement accountable.

Overall,‌ “Stamped from ⁢the⁤ Beginning” ‌fails to provide a balanced and accurate portrayal‌ of the issues it examines. Its biased selection​ of experts,⁣ factual errors, and distortions ⁤undermine its credibility and detract from any ⁢valuable insights it may offer. It is important for viewers to approach this ⁣film ⁢with a critical‍ eye and​ seek additional sources of ⁣information to form‌ a more⁤ complete understanding of the complex issues surrounding race and racism in America.

Conclusion

While “Stamped from the Beginning” ⁢may⁢ be lauded ‍by some critics for its provocative and‌ confrontational​ approach, it ultimately falls short in delivering an objective and ⁣comprehensive account of ⁢the history and contemporary⁢ manifestations of racism. By relying on biased experts ⁢and presenting misleading ⁤information, the film undermines its⁢ own credibility and fails to provide the ‍necessary context‍ to understand ‍the complexities of the issues at hand.

To truly engage with the topic of racism and work ‍towards a ⁢more inclusive and equitable society,‍ it is essential⁣ to seek out diverse perspectives, critically evaluate information, and ⁤engage in open and ⁢honest dialogue. ‍”Stamped from ‍the ⁣Beginning” may serve as a starting‌ point for discussions, but ⁤it should not be taken as the definitive source on the⁤ subject.

As viewers, we must challenge ourselves to critically analyze the media we consume and actively seek out a broad range of viewpoints and sources. Only​ by doing so can‍ we​ gain a deeper understanding of the complex issues ​of race and racism and work towards meaningful change.