If you are currently blissfully unaware of what I’m about to discuss, then I want to apologise in advance for exposing you to the migraine inducing world of what I’m calling “Reverse Racism Fantasy”.
If you are aware of this multimedia insult disguised a collection of themes and narratives, then I hope you don’t mind if I first explain what I mean.
Essentially what I describe as “Reverse Racism Fantasy” is the rise of media that is made by white people, to depict fictitious narratives in which they are the minorities; used mostly to justify passive-aggression against actual minorities.
This is perhaps the widest definition I can come up with, but I think this music video by blonde-cornrowed, self confessed “WHITEBOY” (all-caps, inverted commas): Tom MacDonald is a pretty good example of what I mean.
This kind of narrative takes missing the point to new levels, as most of these creators live in a world of denial in which white privilege is a just a word to stop white rappers having cornrows.
This is why it is all fantasy, even if the characters or creators associated with this kind of media say it isn’t. Since reverse racism doesn’t exist, and simply cannot exist in a system where whiteness is weaponised and white people benefit from racism.
The reason this “genre” of media is relevant currently, is because of a new made-for-TV film entitled “Cracka”. Which presents a world in which black people enslaved whites in America.
Just the one-line pitch is enough to make you cringe.
What “Cracka” does is create a world in which black people are just as bad as white people, which is hilarious since the creators literally cannot even imagine a world where slavery didn’t exist.
The trailer tries very hard to backpedal on it’s terrible concept, by implying that is some sort of alternate universe revenge story.
“You raped our daughters… what if we raped yours?” queries “Cracka”, written by white director Dale Resteghini.
What is also notable is how quickly this trailer appropriates the largest civil rights movement in human history, with the very first line: “You took our breath away”.
So here is a film, that uses a white supremacist fantasy about black people being the real villains, before trying to market itself to black people as some sort of malicious revenge flick, to financially support the vicious ignorance of white people; who are the true audience.
It’s toxic and part of the “insulated environment of racial privilege” that is described in Robin DiAngelo’s essay on White Fragility.
White fragility is the tendency for the white people to deny any wrongdoing when it comes to accepting their own privilege.
Instead of agreeing that white people benefit from the legacy of slavery, there’s a move instead to make films about black people being the slavers, or to spread misinformation about “Irish Slaves” (shout-out to Liam Hogan’s impeccable debunking) or to just generally derail the conversation.
This kind of narrative is on the rise, as the polarisation between those who understand their privilege and want to dismantle it, and those who vehemently deny basic facts becomes wider and wider.
Ultimately I just see this as a byproduct of our time, and hopefully one that is laughable to most people.
Reni Eddo-Lodge in her podcast “About Race”, talks about the harmful nature of the reverse racism fantasy in the second and third episodes; where she talks about the BBC’s broadcasting of a “White Season” of film in the late 90s. These were films that portrayed whiteness as under attack, and white people as minorities under a new multicultural zeitgeist.
Of course it’s all very whacky, and Reni does a very good job unpacking both the context and the implications of it, as a means to explain where we are now in the UK.
The fact that “White Season” is so laughable a concept now is encouraging, as this kind of media is set to age terribly and be see for what it is; an atrocious and unhelpful fantasy.