DEI Screenwriters and their Hollow Minds

Some of the actors are still White. But they’re reading lines written by DEI Black without a knack for cause and effect, or even why that would matter.

I rarely watch mainstream TV, so when I do tune in for a bit, I quickly notice how things have changed. And boy, have screenplays and dialogue changed since the arrival of the DEI mob, the Diversity, Equity, and Inclusion misfits. To summarize, DEI hires are unable to grasp the need for cause and effect, and so their plots and dialogue make no sense whatsoever. Different scenes don’t add up to a cohesive story. They are just that: loose scenes filmed one after the other.

Read with me the following two plots (by my hand):

Plot #1: Hollow Mind Theory

“We sailed to the mainland. I couldn’t shoot, my gun was jamming. There were monsters there. I shot one with my gun. I had never shot a gun before but I was suddenly good at shooting. I said, “Dayum, dat’s gotta hurt.” Then I tried sailing back, but the monsters said I should stay. I started shooting them. Then more monsters came and they stole my boat. I decided to stay on the mainland. Then I swam back to my island.”

This plot makes no sense to people, for it’s just a summation of activities without explaining why they would need to happen. Without such an explanation, people lose the plot. People, at least normal middle-class White people, don’t do things “just because”. They do them for a reason, a motive, a plan, a plot.

Plot #2: Cause and Effect Matter

“We were survivors of the war, trapped on our island where our parents had sought refuge. After years without contact with the mainland, a plant disease ruined our crops and we were forced to sail out. Our mission was to collect seeds, and to assess the fallout from the chemical warfare. We found men roaming the mainland who looked inhumanely deformed, as though they were monsters. They could speak, but our clean, unwarped faces instilled in them a more than healthy interest in us. Something else had changed. Their characters, too, had become as deformed as the men’s faces. They were unruly, then violent, and then we had to defend ourselves. I was carrying a gun, but I had never shot it before. Considering the danger, my dad took the gun from me, told the men to back off, and when they attacked, he shot two of them. Three ran off. That’s when we dicided to turn back to the island, to better equip ourselves for another trip to the mainland. For starters, I had to get good at shooting. We were going to have to face the monsters.”

You can tell the difference. A plot needs to explain why things happen. Why are we even watching this movie at all? There needs to be a payoff for the audience. In the second plot, we can start rooting for the boy as he learns to become a better marksman. We start anticipating the dangers of roaming the mainland, where there are monsters because they were deformed by the chemical warfare. We care about the protagonists because they ran out of seeds and need to look for more to prevent starvation.

This is one of those topics, however, that I find difficult to explain well. I could suggest comparing the movie 28 Years Later to its earlier installments (28 Weeks Later, and 28 Days Later). Or to compare Tom Cruise’s latest Mission Impossible to the first two movies of the franchise. The newer movies feel random, meaningless, and plotless—or simply overly absurd.

In Cruise’s latest movie, which he arguably only made so he could play his own stuntman, a female black President of the USA (it’s supposed to be a tough Kamala) averts global nuclear war simply by shutting down the electric and prevent launching their own rockets, after which the world’s enemies decide to do the same thing. This is a sort of naïveté that doesn’t exist in the real world. (In this scenario, the USA would have been obliterated by its enemies.)

Having a plot matters, and so does having a plot that explain cause and effect, so that we can root for the protagonists, as we make their goals our own, and we hope they succeed. But a plot full of absurdities doesn’t appeal to anyone, unless they have the mental capacity of a goldfish.

We need to ask, then, what happened? DEI hires replaced the formerly White and Jewish men writing movie screenplays, and it has exposed a cognitive difference between Jews, Whites, and Black/Browns. Namely, the new hires operate in a version of reality that doesn’t have reasons. Their reality doesn’t have cause and effect in it. It’s as if Duanté honestly can’t figure out that his frequent grocery store robberies are the reason why his neighborhood is now a food desert.

Indeed, if any psychology PhD student were looking for the most interesting research every, it would be this: to research the cognitive differences between Whites (who perceive and care about cause and effect) and Blacks (living obliviously in the present moment). It turns out, IQ wasn’t the only different, and IQ certainly isn’t the greatest difference. Our whole perception of reality differs. And Hollywood movies written by DEI hires are starting to expose it.