It's a film directed at White teenagers, a film designed to give them a particular image of the world and instill in them a myth about the way the world works. It's a film about modern, urban teenagers -- specifically street gangs in Los Angeles -- and cars and street racing. That might seem harmless enough, but the street racing is just a gimmick on which to hang the message, and that message is that the world is multicultural, and it's good that it's multicultural. It's good not to live in a White world, with White friends and White role models and White values and White standards and traditions. That's boring. That's not cool.
The message is that there's nothing special about being White. The message is that if one is White, then one should hang out with Blacks and Asians and mestizos. One should behave like non-Whites, talk like them, dress like them, be like them. That's what's cool. That's what's sexy. That's what everybody who's really cool is doing. And when you feel like having some sex, you just reach for whoever is nearest. It doesn't matter at all what race the other person is. If you're a White girl, it's especially cool to have sex with a Black or Asian or mestizo male.
That's the most obvious message of the film, but actually it's more than that. It's not really that the film says race doesn't matter, that we're really all the same; that culture doesn't matter, that all cultures are equivalent. The film says that Whites should become non-White, because non-White is better. The cultural milieu of the film is not raceless or a little of this and a little of that. The cultural milieu is Black. The culture is hip-hop. The music is hip-hop. The clothing style, with the baggy shorts and the rest, is hip-hop. It's Black. That is the world into which White teenagers should blend, the world to which they should subordinate themselves.
Surely, White teenagers aren't actually absorbing that message. Are they? Yes, unfortunately, many of them are. The Fast and the Furious is drawing bigger crowds than any other film produced by Hollywood this season. It grossed $78 million in its first ten days. White teenagers are flocking to it more than to any other movie. The attraction, of course, is the action, the street racing, the exciting car stunts. That's the gimmick that pulls them in. But that's not the message. The message -- which of course, is subliminal: that is, which is intended to change the kids' perception of the world at a subconscious level -- is exactly what I just described: it's cool to be part of the hip-hop culture; it's cool to be multicultural; it's cool not to act White, think White, or be White.
That's the message, and it's a Jewish message: Jewish in its conception, Jewish in its promotion, Jewish in its genocidal intent.
Nolan Rodriguez
You think I'm imagining things? I'll read to you from a story about the film in last Saturday's edition of the Los Angeles Times:
>Hollywood was stunned when the youth-oriented action film The Fast and the Furious streaked past the competition to become the number-one movie.... With its relatively unknown cast of Latinos, Asians, and African-Americans, heavy doses of high-speed chases, and a driving hip-hop soundtrack, the movie defied expectations.
>...But the teen-oriented movie's success isn't so surprising when one glimpses the youthful crowds flocking to theaters.... With their ultra-baggy cargo shorts, doo-rags wrapped around their heads, and bodies festooned with tattoos and piercings, the look of these young moviegoers mirrors the multiethnic melange of actors on the screen....
Adrian Jenkins
>Hollywood likes to pride itself on being ahead of the cultural curve, but with last summer's sassy white-versus-black cheerleading comedy Bring It On grossing $68.4 million domestically and this winter's Save the Last Dance, with its once-taboo interracial dating, raking in more than $90 million in North America alone, the studios have only begun to catch up with the colorblind nature of today's MTV generation.
>Rob Cohen, who directed The Fast and the Furious, said the film not only reflects today's "multiculti" youth culture without purposely drawing attention to it, but depicts what is really going on. When the movie opened, it drew a cross section of races, Cohen said. Surveys taken at theaters where The Fast and the Furious played showed that 50 per cent of moviegoers were white, 24 per cent were Hispanic, 10 per cent were black, and 11 per cent were Asian. "I look at this and go, 'This is exactly what I'm talking about,'" Cohen said....
Charles Phillips
Remember when The Fast and The Furious movies used to be about actual car races, not big blockbuster heist movies with cars sprinkled in here and there?
David Morales
I want to emphasize a couple of things in what I just read to you, besides the fact that the director of the film is the Jew Rob Cohen and the studio is Universal Pictures, owned by the Jew Edgar Bronfman. First, note that Mr. Cohen is very much aware of the racial angle in his film. That's all he talks about, not the racing stunts. And note that he says he put the racial propaganda into his film in way that would not "draw attention to it": that is, he put it in as subliminal propaganda.
One other thing: the story in the Los Angeles Times implies that this film and other films like it are imitating society, not the other way around. But that's not true. These Jewish films are propaganda deliberately designed to move society in the direction the Jews want it to go. White kids didn't start wearing baggy shorts and backward baseball caps and listening to rap music and using jive talk just because that's what young Blacks were doing: it was Jewish films and Jewish television and Jewish advertising that pushed them in this direction, that persuaded them it is cool to imitate Blacks.
Aiden Butler
The Times story refers to the studios catching up with "today's MTV generation." But really, how did it become the "MTV generation"? That name is appropriate just because MTV has been the single largest influence on White teenagers in moving them away from their roots in their own race and making rootless cosmopolitans out of them. MTV has been the foremost promoter of the hip-hop lifestyle among young Whites. And I hardly need to remind you that it is the very Jewish Sumner Redstone, originally known as Murray Rothstein to his parents, who owns MTV. Redstone's MTV and his Paramount Pictures studio may be a little ahead of the other Hollywood studios, but they're all pushing in the same direction as hard as they can.
This is an essential point: namely, that the Jewish media are pushing our society, and not the other way around, and the Jews are understandably reluctant to admit that.
Parker Bennett
The cars/racing theme were a distraction, what the first film was really about subliminally was a white guy trying to fit in a culture of nonwhites
Christopher Young
That's why they cast the best looking white guy they could find, so as many young white males would idolize him as he joins in with the multiculturalism
Don't you? Ironically both the far left and the far right are racist as fuck these days. (No changing the definitions really does not hide that, unless you're a literal retard.)
The original is a heist movie, so your point is flawed. I get what you are saying, though. Every movie seems less grounded than the first one and makes it harder to suspend your disbelief.
David Miller
This is how hollywood imagines a japanese setting in which to tell a story about westerners to westerners.
Oliver Hernandez
>not big blockbuster heist movies with cars sprinkled in here and there?
Personally I prefer the current "super car friends save the day by driving" incarnation a lot more, it's hilarious. Can't wait for them to take this absurd premise either into space or into the depths of the ocean.
Jonathan Wilson
but almost every minority in the film is depicted as an obtuse retard the only good non-whites are Vin Diesel and the mexican that Paul Walker bleaches
