‘Nakedly racist’ new film: Ryan Coogler’s ‘Sinners’ inspires Karmelo Anthony defenders

The debate surrounding Karmelo Anthony has predictably erupted into one of race, with Anthony’s supporters painting the victim, Austin Metcalf, as the perpetrator because of the color of his skin.

“We don’t actually know what Karmelo Anthony was thinking, but the narrative that they’re presenting is that, ‘Well, Austin Metcalf is a representative of whiteness, and if he’s a representative of whiteness, then all of the sins of whiteness, all of this slavery, systemic oppression, cultural hegemony, and all of these things are a part of Austin Metcalf’s fault,’” Jack Posobiec tells Jason Whitlock on “Jason Whitlock Harmony.”

“This is, as you always say, this is the idea of collective justice and collective guilt, which is not biblical. It is not Christian. This is a very primitive version of thinking. This is the way the world was — it was tribal — right before Christ came along,” he continues.

And that’s exactly what a new film by Ryan Coogler called ‘Sinners’ does — sends us back to a tribal world where black people and white people only saw each other for the color of their skin.

“What does that do? That divides people,” Posobiec tells Whitlock. “I guess that’s good for donations, right, in the same way that in ‘Sinners,’ it’s good for the box office.”

“But you know what? It’s bad for the country, and unfortunately it’s going to create more Austin Metcalfs,” he warns.

“I’m interested in what Hollywood is targeting at young black people,” Whitlock chimes in, adding, “I found this movie ‘Sinners’ to be the most nakedly racist movie that I’ve ever seen. That’s my takeaway, and it’s akin to ‘Birth of a Nation.’”

“We’ve listened to black people and black historians talk about the evilness of ‘Birth of a Nation’ and what it did,” he continues. “And I don’t disagree with them. It was programming and propaganda.”

“But this is the most nakedly racist. This movie ‘Sinners’ says white people are the devils. It’s as if Elijah Muhammad and the Nation of Islam wrote this movie in 1930,” he adds.

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