Under the heading SBS series New Gold Mountain rewrites history, and short-changes the audience, Catherine Hannebery writes in the Australian a penetrating review of NEW GOLD MOUNTAIN, an expensive SBS production.
I have scarcely read a more compelling deconstruction of the endless woke, Marxist-driven series served up for us on the taxpayer-funded ABC and SBS. Indeed, SBS has risen to Australia’s leading far-left propagator of what they present as ‘multiculturalism’, but in reality is an unrelenting, rancid dish of anti-white racism, particularly focusing on Australians of Anglo-Celtic ancestry.
For the traitorous white management of SBS, there could not be a badder, more racist lot than the people who laid the foundations of the Australian nation and delivered it complete by the 1950s, only to be improved upon – or subverted.
By minutely examining the SBS version of an actual event, Hannebery convincingly shows how SBS perverted the real story for ideological purposes. Indeed, everything on SBS is generated for ideological purposes. Her judgement is irrefutable on the evidence:
‘There is much to say about what the series promises, and what it delivers. But the central problem is the ideological use of historical fiction. Egregious colonial misdeeds and racism are being presented in the form of entertainment and we are being invited to draw contemporary parallels. This series, in my view, poses questions about the use and abuse of history…
‘The biggest disconnect in the TV series lies between the visionary premise of viewing colonial history through an authentic Chinese lens and the insensible narrative dreamt up to deliver this. Rather than the gritty truth, or the intriguing Chinese men of flesh and blood involved in the real murder case, the producers have served up revisionist-western tropes and characters filled from central casting. A woke agenda has shifted the storytelling goals from truth-telling to wishful thinking — with glib prescriptions about who the villains and heroes need to be…
‘The fictionalised story on screen undermines the producers’ conceit that they might be delivering us an important untold story. While it captures vividly the multicultural backbone of life in the frontier society and the goldrush’s hothousing effect on greed and ambition — beyond this, reality has been jettisoned. With Shing as the narrative’s pivot, the murder mystery is reinvented and backfilled with inclusive melodrama…
‘As the series frames itself as a revisionist-western, it doubles-down on mixed messaging. There are protagonists in period costume expressing 21st century ideas, alternately slicing or shooting each other up and talking about their feelings. By episode three, we are led to understand that inclusive community-based detective work will crack the murder case. We are reminded pointedly by fictional characters about their brave quests for truth.
‘This is what retro-fitted empowerment and agency look like for marginalised groups in expensive TV period drama…’
Why does the ordinary Australian put up with the misuse of their money for traitorous ideological purposes?