Anti-White Discrimination All the Rage

Anti-white discrimination is becoming commonplace as the left’s manipulation of identity politics intensifies, permeating all aspects of society — from academia to pop culture and even government.

Insidious racial politics have spread far beyond the confines of liberal universities.

The Supreme Court’s decision in Fisher v. Texas last week, which upheld the University of Texas at Austin’s affirmative action policies, gives clear legal sanction to anti-white discrimination in university admissions.

The court held that “the compelling interest that justifies consideration of race in college admissions is not an interest in enrolling a certain number of minority students, but an interest in obtaining ‘the educational benefits that flow from student body diversity.'”

The argument is unconvincing. The notion that education benefits in any way from a diverse student body is entirely subjective and has no constitutional basis. That discriminating against one race is deemed legal while discriminating against another is not is entirely antithetical to the equal rule of law.

Unfortunately, insidious racial politics have spread far beyond the confines of liberal universities. After pressure from the #OscarsSoWhite controversy this year, the Academy of Motion Picture Arts and Sciences announced last week it was more than doubling its membership in order to accommodate more minorities. Forty-one percent of this year’s invitees to the Academy are minorities.

The #OscarsSoWhite episode mirrors movements like #WeNeedDiverseBooks, which bemoans the alleged under-representation of minorities in the publishing industry, and illustrates clearly the extent to which open anti-white prejudice has been mainstreamed.

Forgetting for the moment the outrage that would inevitably ensue if anyone dared to suggest an event or institution was “too black,” the idea that are too many white people in the film industry in a country in which whites are the clear majority is absurd.

Just as a majority of those in the film and publishing industry in Japan are Asian, and a majority in the film and publishing industry in Nigeria are African, so too are the majority of those in the film and publishing industry in the U.S. — a country founded, settled, and populated predominantly by Europeans — are white.

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To suggest it should be otherwise reveals either an astonishingly bad grasp on simple mathematics and demographics or a predilection for ethnic cleansing.

But not only are American schools, movies, and books “too white,” according to the left-wing race warriors, so too is American history. The Obama administration’s Interior Secretary Sally Jewell said last week that there are too many national monuments to white men in America.

“If you drive around Washington, D.C., in every circle and every square you generally see a bronze white guy,” Jewell said. “You have to work really hard [to find a non-white person] — like in front of the Indian embassy you’ll find Mahatma Gandhi,” she added.

Again, to assert as much in a country founded and populated for most of its history predominantly by white people is staggering.

The ideologically motivated drive for diversity — coupled with the myth of black oppression spread by Black Lives Matters and others — has clearly created conditions in which prejudice against whites may be expressed openly and acted upon.