I have been keeping up with this show, as a sociological curiosity. Last night’s E06 was over-the-top in terms of white hatred & fantasies of killing whites, even more so than E01. Some of my observations about E06 are below.
When the season ends, I may try to merge some notes I’ve taken into a 2nd essay on the show. (I discuss E01 here.)
- Angela has swallowed her grandfather’s memory pills, which is a hackneyed device intended to connote a black woman discovering the ‘true history’ of her ancestors. This includes the ‘true history’ of the so-called ‘Tulsa Massacre’, of which we see more flashbacks more hilarious than the ones from E01. In the E06 flashbacks, we are shown a young white man in full KKK robes discharging his shotgun against a defenseless black woman on the ground.
- Upon graduation from the police academy, the Angry Black Cop (Reeves) is warned by a black police captain to “beware the Cyclops”. The expression of the Cyclops hand-symbol – which we see various, dastardly, KKK cops do as a password for secret meetings entry — is very similar to the “It’s okay to be white” symbol.
- Considerable effort is made to depict the white cops as ostensibly and overtly following the rules of law in public, but then in private circumventing judicial process to help fellow KKK members from jams, attending KKK meetings and the like.
- Reeves’s wife calls him an “angry man”.
- We learn that the Hooded Justice is actually Reeves, who has carefully disguised himself to appear white, by using white face paint around his eyes, which are his only facial features revealed when donning his hood. We see Hooded Justice applying this white makeup in his bedroom mirror, with some newspaper stories taped to his mirror: one story is of a Nazi march that took place in Long Island; another is about the 22,000-strong Nazi rally (German American Bund ) held at Madison Square Garden in 1939.
- Via flashback, Captain Metropolis is depicted as a blonde, Aryan-looking, homosexual white ally to black homosexual Hooded Justice’s cause. He invites Reeves to join The Minutemen. Captain Metropolis knows full well that Reeves is Hooded Justice. Then we cut to a graphic scene of Reeves f*cking Captain Metropolis from behind, as we saw depicted on the fictional TV show. Make no mistake of the significance of – in both the earlier fake TV show incarnation & here in this ‘real’ flashback — it being the black guy f*cking the white guy in the ass and not the other way around.
- After Reeves arrests a fat white racist guy, whom he caught nonchalantly torching a Jewish deli – some young white police officers (who are secretly KKK) string Reeves (who they know is a fellow police officer) from a tree with a noose, as a warning, but then release him. This leads Reeves to stagger home with the cut noose still hanging about his neck, looking quite a bit like Jussie Smollett.
- A black film theater in the city — which is showing The Secret Life of Walter Mitty with Danny Kaye — experiences a (black) riot, which involves blacks attacking each other and destroying the theater. A white cop tells Reeves something to the effect of “This is what happens when you put a bunch of these animals in one cage together.”
- Reeves then singlehandedly uncovers a KKK factory operation, wherein nefarious KKK-Cyclops members insert subliminal, mind control celluloid frames into Hollywood films vis-à-vis manipulated film projectors, these subliminal messages designed to trigger blacks into attacking each other.
- When, over the phone, Reeves tells Captain Metropolis what has transpired at the theater, Captain Metropolis calls this a “conspiracy theory that is unfounded”, and then says how “black people in Harlem cause riots all on their own.” But Reeves has saved the book that the white KKK Cyclops members left on a desk, a fictional book called Mesmerism for the Masses by W.C. Florentine. Reeves asks Captain Metropolis to bring the whole team to help him, but Captain Metropolis says this is “not our cup of tea” and that “you’re going to have to solve black unrest all on your own.” Reeves is let down by his gay, white ally.
- The episode then becomes a black revenge fantasy of blood lust, like a first person shooter game, as Reeves (donning an impromptu Hooded Justice hood) begins shooting all the evil white people at the ‘implant-subliminal-messages-into-film-projectors’ factory: first, the fat racist guy, then in the warehouse Reeves starts popping off all of the white employees one by one. After all, we know they are all clansmen, which makes it okay. In the factory, these white guys were putting together the doctored film projectors. Reeves even walks into a projector room where one white guy is actively implanting voice-over elements into various films and/or projector devices, saying things like: “Do not harm any white man, woman, or child. Only harm each other.”
- We then have a flashback to Reeves today (Louis Gossett Jr) in his wheelchair, on the side of the road, intentionally giving Judd Crawford (Don Johnson) a flat tire at night. When Crawford gets out of his vehicle, Reeves flickers his flashlight like a strobe light, triggering magical mesmerism to Crawford. We then see Crawford follow his every command. Reeves asks him why he has a Klan robe in his closet. Crawford tells him it was his grandfather’s, and that it is part of his legacy. Reeves then leads Crawford up to the tree on the nearby hill and commands him to hang himself, which Crawford proceeds to do. The allegory here uses mesmerism as the Left’s requisite X factor – a phantom entity, much like ‘institutional racism’ – that is required to explain away black pathologies. Leftists think they can similarly deploy this mesmerism against white people, which is actually an apt allegory, as the Left has largely succeeded in getting whites to buy into a self-flagellation ideology of self-hatred.
- Angela wakes up sweating, having experienced all these memories, with the song “Living in the Past” by Witch playing.