Furthest Right

A Bechdel Test for White Genocide: The Roper Test

For years, the writers at this site have expressed a simple but clear idea about the privilege afforded other races by the egalitarian system that favors the underdog: instead of complaining about their added rights, get the same for ourselves, as part of the process of ultimately getting past diversity by abolishing it.

This shocks normal people who cannot imagine repatriating tens of millions of non-WASP residents, but to those who have seen that diversity always favors the minority against the majority, it is more unimaginable to consider leaving diversity in place since it is civilizational suicide.

If Whites — the original ethnic Cro-Magnid/Nordid Western Europeans — want to save themselves, their quest begins with demanding the same rights gifted to “victim” groups but disposing of the egalitarian favoritism toward victims; we deserve to exist like any other group, and to do that, we must end diversity.

It might make sense for us to borrow something from the diversity movement, namely a test for any media we consume that allows us to discard the anti-White and keep the neutral or pro-White. We could use a variation on the Bechdel Test:

Alison Bechdel attributed the test to her friend Liz Wallace and hence the test is also known as the Bechdel-Wallace test. A work of fiction passes the test if it has:

  1. At least two women
  2. Who talk to each other
  3. About something other than men

As others have pointed out, some ethnic groups have adopted their own versions of this test, such as the Josephs Test:

This can be a quick checklist for creators and viewers of media of Orthodox Jewish narratives, themes and characters to see if a reasonable and accurate depiction has been created.

  1. Are there any Orthodox characters who are emotionally and psychologically stable? (Half a point if they occasionally smile. Two points if you’d want to hang out with any of them.)
  2. Are there characters who are Orthodox whose religious life is a characteristic but not a plot point or a problem? (Half a point if they can get through an entire scene without touching a religious object, mentioning a Torah verse, or speaking pedantically to the other characters.)
  3. Can the Orthodox character find her Happily Ever After as a religious Jew? (Or does it ONLY come about through leaving observance, and then all of her issues magically resolve?)
  4. And if the main plot points are in conflict due to religious observance— are any characters not Hasidic or Haredi and have the writers actually researched authentic religious observance from practicing members of the community they are attempting to portray?

Consider the TV shows and movies you’ve seen and put them to THE JOSEPHS TEST.

More ideas for ethnicity-based tests come from the Islamic version of the Josephs Test, namely the Riz Test:

If the film/show stars at least one character who is identifiably Muslim (by ethnicity, language or clothing) – is the character…

  1. Talking about, the victim of, or the perpetrator of terrorism?
  2. Presented as irrationally angry?
  3. Presented as superstitious, culturally backwards or anti-modern?
  4. Presented as a threat to a Western way of life?
  5. If the character is male, is he presented as misogynistic? or if female, is she presented as oppressed by her male counterparts?

If the answer for any of the above is Yes, then the Film/ TV Show fails the test.

Do we actually need any test of this nature? It seems that the pressure has come our way because films advocating for White Genocide are upon us, including one created by an ex-president which blames Whites for the failure of modernity

More recently, Obama served as a consultant on Sam Esmail’s latest film, Leave the World Behind, based on Rumaan Alam’s novel of the same name.

The film, which was released on Netflix Friday, follows two families forced to work together amid a nationwide blackout. As the threat grows, both families must decide how best to survive the potential crisis, all while grappling with their places in the collapsing world.

The scene in question shows a Black couple lying in bed as the lines, “I’m asking you to remember that if the world falls apart, trust should not be doled out easily to anyone, especially white people.”

They want us dead. They are no longer hiding this fact. They blame us for everything that went wrong, including the fact that the third world was poor and lower average IQ before we got there, and that colonialism only began after Asiatic, Muslim, and Turkic invasions of Europe.

This is a typical diversity outcome. In a pluralistic society, each group keeps to itself, but realizes that it must conquer or be conquered, so it sabotages all others. Combined with the fact that pluralism replaces culture with a lack of culture, this throws civilization into a death spiral.

Consequently, it makes sense that we create The Roper Test — named after pro-White activist Billy Roper — for all media:

A work of fiction passes the test if:

  1. It contains actual White (Nordid Western European: English, Scots, Dutch, north German, Scandinavian, northern French) people.
  2. They are not portrayed as incompetent, inbred, stupid, and pointlessly destructive.
  3. They have White partners and children.
  4. They do not exist in a diverse environment, especially one retconned into our history, and
  5. They express joy at being White and working toward a White future for themselves.

Extra bonus points if it reveals White contributions to history, such as the fact that the entire world uses Western systems now because they work better than what everyone else was doing.

As it stands right now, most media will fail this test. Almost every show features a mixed-race couple, evil inbred redneck “racist” Whites who are dumb as they are mean, White authority figures who are both moronic and hateful, or rewriting of history to make diversity seem like anything other than the cosmic failure that it is.

However, now that we have a test, we can start rejecting media for failing it, which translates to advertisers that if they want to sell us stuff, they need to start making fiction that passes this test. At that point, our media can separate out from that designed for any other race or ethnic group.

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