CSI: Crime Drama as Semitically Correct Investigation

From Vanguard News Network, March 22, 2003

AMERICA’S #1 TV DRAMA, CBS’s CSI: Crime Scene Investigation, ought to be called SCI: Semitically Correct Investigation. The revised acronym alone — SCI — would be appropriate, since the show’s habit of creatively re-interpreting true-crime stories to fit anti-White ideology makes it even less like a science-based drama than were the liberal morality tales of traditional post-’50s TV science fiction (e.g., Star Trek, Twilight Zone). While most dramas based on real events change certain elements “to protect the innocent,” CSI‘s semitical correctness functions to do the exact opposite: it not only protects the guilty, it projects their blame onto the innocent. In 2002 alone at least three of CSI‘s most gruesomely shocking episodes — based on America’s most horrific crimes — have been guilty of gratuitous race reversal, in which real-life Black hyperviolence is depicted as pathological behavior found in Whites and White communities.

In “Anatomy of a Lye” (May 2, 2002, episode 44), a man hit by a car flies forward and smashes halfway through the windshield. He’s alive and conscious, but with two broken legs he’s helplessly stuck, impaled through the shattered glass. Instead of calling 911 or taking the victim to a hospital, the driver continues home and parks the car in his enclosed garage, with the trapped man still protruding from the windshield. The driver leaves the dying man there for two days, ignoring his cries of pain and pleas for help, until finally there is silence — after the victim bleeds to death.

CSI‘s fictional killer is a “successful White man,” a callous corporate attorney who wasn’t about to let the death of some “nobody” interfere with his busy schedule or his important career. It is a well-worn assumption in semitically correct entertainment that inside every White man is a merciless killer waiting to get out.

Real killer Chante Mallard

The problem is, the real killer wasn’t a White man at all. It was a run-of-the-mill, dime-a-dozen, Black woman: 25-year-old Chante Mallard. A nurse’s aid (!) who was drunk and high on Ecstasy when she plowed into Gregory Glenn Biggs, a 37-year-old White man, with her car. The details of the real story, too, are even more horrific than CSI‘s version.Mallard didn’t merely ignore Biggs’s pleas for help once she had driven him home and concealed him in her garage. She went inside her house, ate Doritos, and had sex with her Black boyfriend, all to the morbid soundtrack of Biggs’s desperate moans. Once Biggs bled to death — two days later — Mallard’s boyfriend and his brother dumped the body. Chante Mallard was caught after she laughed about the killing three months later at a party. Her friend Maranda Daniel recounted, “Shantae [sic] giggled when she said, ‘I hit this White man.’”

Real victim Gregory Glenn Biggs

How does such a heinous Black crime get pawned off on Whites, and why? It’s easy to understand the transformation from reality to media representation once one knows the middlemen involved, as per the credits: “Written by Josh Berman & Andrew Lipsitz; directed by Kenneth Fink; produced by Jerry Bruckheimer Productions.”

In “Let The Seller Beware” (October 10, 2002, episode 49), CSI probes the death of a White, suburban high school cheerleader who is found eviscerated and cannibalized on a soccer field. As the plot unfolds, it is revealed that the unlikely killer is another young, White cheerleader, who was jealous of the victim. The killer had a crush on the victim’s boyfriend. She met secretly with him on the soccer field and together they smoked what they thought was marijuana. The marijuana, however, was laced with the powerful hallucinogen PCP. When the boy’s girlfriend unexpectedly showed up, the high and disoriented girl’s jealously turned into a murderous, primal rage. She attacked her female competitor, killed her, and, like an animal, ate flesh torn from the corpse.

As unbelievable as it may seem, this horrendous story comes straight out of the real world. Only, once again, CSI reversed the races. It wasn’t a White suburban teenage girl attacking another in a fit of drug-induced jealous rage. Much more plausibly, it was yet another young Black male who committed these savage inhuman acts. Rapper Antron Singleton, known as Big Lurch, smoked PCP, murdered 21-year-old Black woman Tynisha Ysais, chewed her face, tore open her chest with his hands and a 3 inch knife, ate part of her lungs, and was later found naked in the street, covered in blood. Once again the usual suspects are the middlemen transforming Black horror into White pathology: “Written by Andrew Lipsitz & Anthony E. Zuiker; directed by Richard J. Lewis; produced by Jerry Bruckheimer Productions.”

CSI translates reality into semitically correct fantasy every time. Finally, CSI‘s “Blood Lust” (December 5, 2002, episode 55), foists not merely a specific Black crime on Whites, but a whole genre of crime: mob murder. The episode opens with an Indian taxi driver distracted by an attractive passenger. Spying the passenger in the rearview mirror, he feels his cab strike something at a suburban intersection. When he gets out to check, he finds a White teenage boy pinned beneath the rear tire, apparently killed on impact. The Indian jumps back into the taxi to call for help, but a mob of angry onlookers — all of them White — drags him out and beats him for what appears to be an attempted hit and run. The Indian cabby is battered into a coma, and he later dies at the hospital.

At one point, Warrick, the green-eyed mulatto investigator (played by Gary Dourdan) asks Sara, his White colleague (played by Jorja Fox), if she thinks the attack on the cabby was “racially motivated.” Sara doesn’t skip a beat: “Yes. White mob. White victim. Dark-skinned driver. I don’t like the math.”

Bad math, indeed. It doesn’t take a numbers whiz to realize the chances of this scenario happening as scripted — a mob of Whites spontaneously attacking and killing a non-White (or White) for any reason — are more than a million to one. Blacks, however, commit this kind of mob murder several times a year. In the past six months, there have been two particularly appalling murders by a mob of Blacks.

In Chicago, July 30, 2002, an angry mob of Blacks pulled two Black men out of a van and beat them to death after their vehicle crashed into the front steps of a South Side building, injuring three women. The murderers, who just moments before had been random Black citizens going about their business on a public street, sprang into a mob frenzy and collectively beat the two men with “bricks, stones, sticks and their hands and feet, police said.”

In Milwaukee, October 2, 2002, Charlie Young Jr., a 36-year-old Black man, was chased for blocks, dragged from a house, and beaten to death on the front porch, by a mob of 16 Black youths, ranging in age from 10 to 18. Young was attacked in broad daylight as neighbors watched. The mob battered him with bats, shovels, rakes and sticks. A witness reported hearing them jockeying for use of the different weapons, “saying ‘Hey, let me use that,’ It was like a game to them.”

Negro cavorts after crushing the skull of white truck driver Reginald Denny. Not a hate crime, declare the courts.

These recent acts of tribal savagery find precedent in the 2001 Black-on-White “love crime” of White 20-year-old Kris Kime, who was beaten to death in Seattle by a mob of Blacks for daring to rescue a White woman from this same mob. Also in the April 29, 1992, attack on 36-year-old White man Reginald Denny, who was pulled from his truck and beaten nearly to death by a Black mob because he was White. Caught on video, the Black attackers danced and cheered as they took turns smashing Denny’s head with bricks. Denny lived — with a crushed face and severe brain damage.

Again, “Bloodlust” pays God’s Self-Chosen middlemen many shekels to translate reality into bite-size morsels of easily swallowed semitical correctness: “Written by Josh Berman & Carol Mendelsohn; directed by Charlie Correll; produced by Jerry Bruckheimer Productions.”