“Uncle Tom,” released in 2020, highlights the experiences of black conservatives and gives a platform for them to explain their experiences living in a world where they are outcasts for holding a different point of view. “Uncle Tom II: An American Odyssey,” now available for streaming and on DVD, takes a different approach.
The documentary fleshes out the historical context that has led to near-total ideological conformity among the black community. It presents a thesis anathema to every liberal fact-checker, Afrocentric college intellectual, far-left Black Lives Matter thug, and milquetoast conservative.
The movie begins with its narrator, Chad Jackson, a blue-collar, working-class black American construction worker, describing his intellectual journey from liberalism toward conservatism. Jackson says he hopes the film “breaks the spell that so many people are under that keeps them angry, makes them bitter, blinds them [to] the truth.”
A staple of the documentary is images and videos of the historic black American family juxtaposed with mass media propaganda about 21st-century black people being victims of slavery. The images of an enraged and indoctrinated 7-year-old girl participating in a BLM terror march are shocking and offensive, but they set the stage for the heartwrenching story of the fall of the American black community.
“Uncle Tom II” paints the picture of a strong, independent black culture that rose from the shackles of slavery into immediate prosperity—a truth of history lost in our contemporary narrative. This culture arose before the victim mentality insidiously crept its way into the black mindset. Following the end of slavery, black Americans had the opportunity to enjoy freedom, pursue commerce and reap its rewards, and be seen as equal participants in a society ever striving for growth and improvement; they were not subject to a grotesque welfare state subsidizing indolence and depravity in the name of compassion. These industrious people thrived despite the tangible institutional racism they faced. Black Americans worshiped Christ, had a stable family and church life, and began to build intergenerational wealth.
“Uncle Tom II” touches the third rail of racial politics in America—one that very few conservatives dare approach. Conservatives have adopted egalitarian talking points because they are too cowed to speak ill of “diversity” and “tolerance,” which have been elevated to the most sacrosanct of virtues by the liberal elite. It depicts contemporary secular black society and its thrall to heroes of depravity—murals and deification of figures such as George Floyd, Breonna Taylor, and Michael Brown—whose only contribution to society was dying in violent encounters with the police. These are false idols for a dark and dystopian time. This transformation took place by design, with the “trained Marxist” founders of BLM following a time-tested blueprint of separating the people from the love of their actual Creator, just as Mao, Stalin, Lenin, and other communist despots did.
While these points are strong and controversial, “Uncle Tom II” goes into truly forbidden territory while it chronicles the history of the civil rights movement. It is heavy-handed in positing that the civil rights movement transformed the black community from a Christian-oriented, dignified, family-centric culture into what it has become today: one defined by grievance and envy and hatred of white people. And it was not just fringe civil rights figures movement whom “Uncle Tom II” targets, but also the titan of the movement: Dr. Martin Luther King, Jr.
“Uncle Tom II” puts King’s words under the microscope alongside other civil rights icons, such as Stokely Carmichael, to unravel how they fanned the flames of racial tension and planted the seeds for BLM and the dismal present-day situation of blacks in America. The film shows how civil rights figures were always under the influence of light-skinned radicals, like Saul Alinsky, who saw black grievance as a helpful mechanism to catalyze the entry of subversive left-wing politics into the American psyche and who guided the hand of the movement and pushed its destructive ends.
The documentary also traces the roots of Marxism back to the turn of the 20th century and shows how black greatness has been consistently undermined. Early leaders such as Booker T. Washington demanded black excellence and rejected the victim narrative. He encouraged black self-improvement over political action, imploring blacks to build their own communities and become self-sufficient and self-reliant. His shrewd land acquisition resulted in the formation of a thriving ethnic enclave in Harlem, dispelling the notion that blacks could not be upwardly mobile before white liberals bestowed government privileges upon them.
Washington’s foil, W. E. B. DuBois, promoted socialism, demanded political equality and integration, and stressed the need for entitlements rather than entrepreneurship. The documentary makes a compelling case that this authentic black history has been suppressed in favor of pseudohistorical, anti-American libels like the 1619 Project and critical race theory.
Lt. Colonel Allen West, former Housing and Urban Development Secretary Ben Carson, and Christian conservative radio host Jesse Lee Peterson are the most prominent noteworthy figures in “Uncle Tom II.” They eloquently and forcefully stated the truth in a manner that most white conservative leaders would never have the courage even to think, let alone say. This is not the type of information that mainstream conservative influencers–with millions of dollars depending on them staying within the artificial bounds of intellectual conformity–want their followers to understand. These mainstream figures might tiptoe along the margins in criticizing the legacy of the civil rights movement, but they would never tear down MLK. They certainly would never have the gall to say that the most prominent black leaders, revered by the whole of American society, were little more than the puppets of devious white communists.
Non-black conservatives would be dismissed as conspiracy theorists, and they would inevitably be “canceled” for trying to present the unvarnished and complex truth in such an uncompromising manner. That is what makes “Uncle Tom II” so important: it brings together the right people—conservative black patriots with high name recognition and respectably authority—to share a compelling narrative that counters the conventional wisdom.
We’re seeing a nascent breed of black conservatives who weren’t bought off with promises of handouts from the Platinum Plan. They were animated, just like every other American patriot, by Trump’s rhetoric and the promise of a better life. Trump’s aura is driving the Blexit movement; black Americans want to live the capitalist dream just as white people have for generations. Wealthy, coddled, spoiled, guilt-ridden liberal whites wish to kill the system not only for their progeny but also for blacks, who will only be allowed to achieve as much as the globalist cabal of rulers arbitrarily deem is sustainable. “Uncle Tom II” tramples on the notion that blacks’ destiny is to be serfs on a “woke” plantation. It rejects the civil rights movement and its disgraceful legacy. Perhaps a statue of Joe McCarthy can replace the toppled MLK monument in Washington D.C. after the MAGA revolution’s success when “Uncle Tom II” becomes mandatory viewing at inner-city schools.