“If you build it, he will come,” said Shoeless Joe Jackson, the famous white baseball player who briefly dominated the game a century ago, in the  1989 movie Field of Dreams. It remains an American classic, a film so iconic that the film location , an actual baseball diamond in the middle of a cornfield, remains one of the most popular tourist spots in Iowa. However, no one ever points out that all those ballplayers who magically return from the dead to entertain the living are white, from the game’s segregated era.

And even the film’s only black character, Terence Mann, well played by James Earl Jones, does not seem “triggered” by the whiteness of it all.

“Unbelievable!” an awestruck Mann says at the sight of the all-white athletes at play.

In reply, farmer Ray Kinsella, played by Kevin Costner, says: “It’s more than that. It’s perfect.”

Maybe the nearly all-white cast is what made Field of Dreams so very perfect—which explains why the public continues to respond to it.

And why the film would never get made today.

Indeed, if Hollywood were to make Field of Dreams today the teams would be integrated; a white-loathing actor like Jamie Foxx would be cast in the lead, and the script would feature a white character who would be publicly humiliated and morally corrected by his black betters.

The farmer would then declare the situation “perfect.” But by that point much of the audience would have already turned the channel.

Most people watch television simply to relax. After a long day, you have dinner, clean up, then sit down and watch something mildly entertaining before going to bed. But that everyday activity has become nearly impossible to indulge because so much of the content has been created by people who barely hide the fact that they seriously despise you—and by you, I mean white people.

We see this anti-white antipathy most obviously in what one might call Replacement Programming, where established white fictional (or historical!) characters have been updated with minority actors such as Netflix’s Troy: Fall of a City, which features a black Achilles and Patroclus, or Bridgerton, a Regency-era drama where several of the 19th century British nobility are portrayed by black actors [Bridgerton’s Approach to Race and Casting Has Precedent Onstage, by Matt Wolf, New York Times, May 24, 2021].

(Anyone who has watched British television in recent years knows that the problem is even worse on the other side of the pond: BBC is ’taking political correctness too far’ by removing comedy classics like Little Britain from iPlayer over fears of offending modern viewers, culture minister John Whittingdale says (Daily Mail, July 21, 2020).

Moreover, television commercials routinely depict whites as clueless and morally degenerate while minorities are wiser and morally superior.

Many incorrectly assume that the tide will eventually turn against this increasing anti-white hostility. “Go Woke, go broke,” they say as if market forces will eventually convince Big Business to change their ways.

This attitude, however, is hopelessly naive. Big Entertainment already knows that the public dislikes their Woke content, but they will continue to produce it. Why?

In On War, General Carl von Clausewitz argues that military victory comes not when you defeat the enemy’s army or occupy their territory, but when you break the enemy’s will to resist [Book 1, Ch. 2].

The purpose of Replacement Programming is to break the will of whites to resist their dispossession, and Big Entertainment is willing to lose billions to accomplish that goal. This is not about ratings. This is not about money.

How then are we to resist?

There is only one way. Just as patriots have successfully built an alternative news media to compete with the Main Stream Media monopoly, we must build an alternative entertainment media to compete with Big Entertainment. 

This prospect is not as daunting as it may appear, given that all white shows remain extremely popular in syndication. For example, the public has been consistently watching Friends for three decades despite the fact that (in my opinion anyway) it wasn’t very funny [Why Is Friends So Popular?, by Rachel Horstman, The ColdWire, January 14, 2023].

The crucial factor that made Friends so successful is that the actors had chemistry, just as they did in shows like Seinfeld and Everybody Loves Raymond. But have you ever noticed that actors of different races almost never have on-screen chemistry? Would Seinfeld have been as funny if Kramer had been black? Would everybody still love Ray Romano if his wife was Asian? Would audiences have found Sleepless in Seattle or You’ve Got Mail so romantic if Tom Hanks had fallen for Whoopi Goldberg instead of Meg Ryan?

We all know the answer.

Replacement Programming also afflicts children’s entertainment, such as the recent Disney remake of The Little Mermaid featuring a black Ariel. The forced diversity of kids shows explains why many families have returned to watching all-white reruns like Little House on the Prairie [’Little House on the Prairie’ star Alison Arngrim jokes that the cast is ’baffled’ at show’s enduring popularity: ’It was good, but it was 50 years ago!, by Raechal Shewfelt, Yahoo News, March 17, 2023] and Leave it to Beaver [Years later, ‘Leave It to Beaver’ remains a beloved family sitcom, by Susan King, Los Angeles Times, June 30, 2010].

In fact, Replacement Programming has become so transparently phony that even many minorities have grown tired of it. In Newsweek, black writer Alex Miller recently wrote that

Pushing for black actors playing white characters while insisting race doesn’t matter is rank hypocrisy. What’s more, you create more division by doing it—which means that instead of progress, this habit is creating more of the very problem it claims it’s solving.

[Making White Characters Black Isn’t Progress—It’s Pandering. And It Insults Black Fans Like Me, by Alex Miller, Newsweek, February 22, 2023]

"Too many deluded people are using these race-swapped characters as if the changes will break some kind of ground, as if Hollywood just freed the slaves with their benevolence." So many thanks to @bungarsargon for my newest piece! https://t.co/mxWmtvnDtn

— Alex Miller (@oneheart1city) February 21, 2023

Very true. What Miller does not concede, however, is that minorities have their own networks—such as Black Entertainment Television and Univision—that are specifically designed just for them. However, if blacks and Hispanics can have their own networks, it only makes sense for white people to have a network, too.

Imagine a streaming entertainment network that features programs which favorably depict white families, white group friendships, and white literary and historical figures. Imagine advertising that actually tries to appeal to whites and not ridicule us. Imagine watching late night comedy that is actually funny.

There are over 200 million white people in America who hunger for all-white programing. It’s a simple idea that worked really well for decades.

Naturally, the Left will go absolutely ballistic over a White Entertainment Television Network. But they already hate us anyway, and the vitriol will be great free advertising. It is also a virtual certainty that many minorities will tune into such a network as well for the simple reason that diversity is not a strength—it is a dreadful bore.

Some may call me crazy. But that is what they said to Ray Kinsella in Field of Dreams when he decided to build the baseball field. However, at the end of the film, Terence Mann approaches Ray Kinsella and urges him to hold on to his dream because vast numbers of people will soon arrive at the field due to their extraordinary nostalgia for a better, more wholesome time that they wish to experience again. “Oh, people will come, Ray. People will most definitely come.”

A White Entertainment Television Network. If someone has the courage to build it, people will most definitely come.

P.S. on crazy: Remember I’m the guy who predicted that Donald J. Trump would run for President, and on the immigration issue, way back on April 12, 2015!