Working Behind the Scenes…

Further to my last post – The Real Story of Our Times – on the policy of social engineering through immigration, Janet Daley had an excellent piece in yesterday’s Telegraph:

The phrase “altering consciousness”, which had once meant awakening the proletariat to its own economic enslavement, now referred to raising awareness of social injustices, such as intolerance of cultural differences, social inequality, or discrimination against minorities. But the subtext was always self-examination and personal guilt: the indigenous Briton must be trained (literally, by the education system) always to question the acceptability of his own attitudes, to cast doubt on his own motives, to condemn his own national identity and history, to accept the blame even for the misbehaviour of new migrants – whose conduct could only be a reflection of the unfortunate way they were treated by the host population.

Those who might have warned that there was a social policy behind immigration – that the objective might actually have been to permanently change the make-up of the UK – would have been dismissed as swivell-eyed conspricay theorists, and not just by those on the Left. Tories too would undoubtedly raise their eyes heavenwards, barely tolerating such ‘barmy’ claims.

The same goes for other hidden agendas. For example, in the past couple of decades those who sought to show bias in the BBC were regularly swatted away as hyper-paranoid authoritarians (and still are, to some extent).  And then we read, in yesterday’s papers, that Left wing scriptwriters hired by the BBC during the 1980s tried to use Doctor Who – a kids programme! – as a means to make propaganda to undermine the Thatcher government.

Sylvester McCoy, the actor who played the Time Lord for two years in the 1980s, told the Sunday Times: ‘The idea of bringing politics into Doctor Who was deliberate, but we had to do it very quietly and certainly didn’t shout about it. We were a group of politically motivated people and it seemed the right thing to do.’

Andrew Cartmel, the show’s script editor during the late 1980s, said he was open about his plans to mock Mrs Thatcher when interviewed for the job.

‘My exact words were: “I’d like to overthrow the government,” he told the paper. ‘I was a young firebrand and I wanted to answer honestly. I was very angry about the social injustice in Britain under Thatcher and I’m delighted that came into the show.’

The writers he hired to encourage anti-Thatcher storylines included Ben Aaronovitch, son of the late Marxist intellectual Sam Aaronovitch, and Rona Munro, who went on to become a scriptwriter for Ken Loach, the socialist film-maker.

The moral to be drawn from both stories is: If you sensed something was going on at the time, rest assured: you were right.

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