One of the features of modern liberal democracy is that everyone is trapped in a constant present, unaware of both the past and future. The current black riots, for example, are being described as unprecedented, when in fact they are a regular feature of American life. Birds fly, fish swim and blacks riot. Amusingly, the man allegedly responsible for these riots, President Trump, you know, because of the low black unemployment, is in office because of the last round of black riots.

In fact, black rioting is one of the regular features of the ongoing morality play that is modern liberal democracy. The usual suspects, looking for a reason to get white people to the theater, start scanning about for some case where a black was harmed by an unsympathetic white. They create a narrative around the incident, have the stories placed in the media and then encourage the black “activist groups” to start making an issue of it. From there, the story writes itself.

The regularization of this is clear when you look up from this incident and recall that just a few weeks ago we had Jogger. This was an off-Broadway effort to angry-up the blacks, but it failed to catch on. Blacks were sort of ready to play their role, but only the dumbest white people fell for it. Those would be the type who declare their pronouns on social media. Normal white people saw through the plot like a bad movie and failed to show up at the theater. Jogger never made it to Broadway.

As an aside, you’ll note something about the Jogger that goes unremarked. American blacks are not all that sympathetic to imported blacks. When some guy with a weird African name gets jammed up, regular blacks just shrug. The reason is their identity starts with them being near whites against their will. Despite their relentless demands for access to white people, black identity starts with the belief that they are around whites by force. African man violates that narrative.

The general framework of this particular morality tale follows the approved script of all morality tales in modern America. First, the usual suspects, or their puppets, announce there is a great danger to the community. Alternatively, there is some group being harmed and the community must rally to their defense. Sometimes the two are combined in a Godzilla attacks Tokyo scenario. The people are then supposed to flood the theater to be properly scared or angered.

You see this with these Cop-Black tales. The black is always cast as an innocent victim in the trailer for the show. They find pictures from his high school yearbook to hand out in the press kits when promoting the story. We saw that with Trayvon Martin. The media used pics of him as a child, rather than as a hulking teenager. Jogger was shown in his cap and gown seven years prior. The cop, in contrast, is never really filled out as a character, because he is a catspaw for the real villain.

The paradox of these cops versus blacks riot-dramas is that we live in a country that worships cops. There are dozens of TV shows and movies on all the time celebrating the cop as the guy guarding the wall between civilization and barbarity. Usually, the hero cop is required to break the rules to exact justice. On the one hand, white people are supposed to see cops as rule breaking moral agents, while blacks are required to see cops as immoral agents of a system of oppression.

The second act of the morality tale always brings the so-called conservatives onto the stage to play their part. Normally, they are required to dismiss the danger or the victim, in order to appear unfeeling or callous. In this case, the role is changed up. They are first required to worship a special character created just for these shows. This is the Magic Negro, who is black, but a conservative! He is brought on to confirm the wishy-washy civic nationalism stuff popular with old people.

After the required doses the negrophilia, the conservatives in the crowd are ready for the usual performance. The conservative character can either be shocked at the hypocrisy of the Left or outraged by the civil unrest. In both cases, the underlying assumptions are the same. Racism is the worst sin, but a sin, ironically, that can only be committed by white people. As such, the whole point of the citizen’s life must be to eradicate this sin from their heart and from their community.

Like the Dionysia in ancient Athens, these morality plays are intended to reinforce the larger moral framework of society. If you step back from the particulars and look at these race dramas, they are not all that different from a fire breathing minister telling his flock that they are all sinners and must redouble their efforts. Instead of pleasing God, it is the god of democracy. These dramas are a lecture to whites that they will only be saved when all people are welcomed into their community.

Of course, that is one of the many paradoxes of modernity. In order for the morality plays to work there has to be real victims and real villains. This is why everyone is a racist Nazi now. The supply of genuine racists and Nazis has evaporated. The only actual racists in America are not white, which will not do, so the play makers expand the definition for racist to fit their needs. It also means they deliberately create villains by manufacturing them when the supply is low.

In theory, the way out of this endless drama is to simply ignore it. Get enough white people to stop showing up or even acknowledging these dramas and the theater runs out of audience members. In reality, this can never happen, at least not to the extent it changes public morality. The people running the theater will just force people inside, as we see with the schools, corporate diversity training and the like. In a libel democracy, society itself becomes the theater and life is the morality play.

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