The Low Art Of Selling The Great Reset

“A-B-C. A-Always, B-Be, C-Closing. Always be closing, always be closing." —Glengarry Glen Ross

Remember back in the Don Draper past when commercials actually talked about the product they were selling? Soap that cleaned clothes better. Cars that used less fuel. Toothpaste that whitened better. The idea was for you to buy the product based on its merits.

Yeah. Those days are done. Instead of hawking mattresses or dishwashers the current advertisements are progressive parables on the Great Reset from craven corporations. A passing review of the commercials now on TV or online seems more like a symposium on white privilege or gender insensitivity beloved by Canada’s prime minister and his Stepford cabinet.

Even when they dabble in the product they’re supposed to be selling, the commercials’ overarching message is how enlightened the advertiser is and how  base you— white middle-class consumer— are. If you also intuit that there’s a product behind the sales pitch, so much the better for the advertiser. But it’s no longer the salient point. They’re enlightened. You’re not.

A perfect illustration of the Woke makeover is the sudden enthusiasm in commercials for mixed-race or gay couples. Those living in a real world had seen and accepted mixed-race couplings for some time. Gay couples have been common in society for over a decade. Millennials and younger cohorts see it as normal. No big whoop.

But until about two years ago advertisers still viewed these unions as verboten in their product advertising. It was a third rail. Mom and Pop must be seen as heteronormative.

Then, as if a memo had suddenly been issued (or Joe Biden elected), the dynamic changed for every advertiser. Virtually every couple portrayed by corporate outfits suddenly represented the new nuclear equation of biracial, gay or bisexual. Whether selling bank services or car floor mats, mixed-race couples now represent a disproportionate percentage of the couples pictured in the commercials. 

Likewise, white characters in commercials or culture are now universally portrayed as dullards and foils for the new professional class to sneer at. They stumble, they bumble, they can’t match the intellectual power of the new anointed class.  White men are the new punchline, saturated by colonial guilt. Why now? Because it can be weaponized against The Other.

If it all weren’t so obvious it might be amusing to see corporate culture pretzel itself in the service of the praetorian guard of Wokeness. As it is, it’s simply insulting to believe that their customers would not view such sudden transparent virtue signalling as cynical or go unnoticed in the market. 

By the same standard, transcendent visible minorities are also suddenly chic in comedies/ dramas churned out by Hollywood. For just one example, historic white character Ruth Lockwood— a PBS producer in the new HBO series The French Chef about Julia Child— was made black so the show’s progressive producers could highlight racial prejudice in the 1960s. That’s half a century ago.

A gay James Beard also takes Child on an invented visit to a San Francisco drag bar for more moralizing about cisgendered LGBTQI tyranny. “It could have happened, but we don’t know if it necessarily did,” says Julia creator and writer Daniel Goldfarb. 

Don’t forget the tortured attempts at progressive racial re-balancing in recent productions such as Bridgerton or Great Expectations that re-arrange the racial deck chairs of the 18th century. If Alec Guinness playing an Arab sheik in Lawrence of Arabia was insulting then why is Golda Ruchevel playing Queen Charlotte in Bridgerton not just as insulting to history? 

Barack Obama insisted that equal representation in society should be a goal: but that would mean just 12 percent black actors or presenters (the true percentage of blacks in America) or 3 percent of LGBTQ characters (their U.S. census figure) or 0.1 percent of trans people represented. Yet a visiting Martian would conclude from today’s commercial output that each group had a far greater slice of the population pile in North America.

When questioned on this enforced shape-shifting of history and culture the Left insists that anyone pointing out the obvious is a Qanon agent or a Jim Crow recidivist. The Taylor Lorenz pep squad then buries the offending questioner on social media. How dare they diverge from the script? Don’t you know queer and non-binary now represent the majority in young people?

Rich Hollywood elites’ next virtue display is headed into Green Think on screens. Agitprop groups have told producers they are not pumping out enough global-warming propaganda. “Researchers checked for references to 36 key words and phrases including “climate change,” “fracking” and “global warming” in TV episodes and movies released in the U.S. market… Only a sliver of screen fiction, 2.8 perhaps, refers to climate change-related words, according to a study of 37,453 film and TV scripts from 2016-20 that is the basis for the climate guide, AP reports."  

So they created a "playbook" for how to embed global warming themes and messages in films and commercials.

Sadly for progressive casting departments, the radical executives at Disney blew any chance at the new representation being called organic. In a recent video chat corporate president Karey Burke supported having "many, many, many LGBTQIA characters in our stories" and wanting a minimum of 50 percent of characters to be LGBTQIA and racial minorities. 

Disney executive producer Latoya Raveneau bragged about her "not-at-all-secret gay agenda” and gushed that “where ever I could I was adding queerness… no one would try to stop me.” Until they bumped into Ron DeSantis they didn’t.

So brace yourself for Gaia signalling as the next frontier when the 2024 electric car models roll out. The Woke movement understands that they don’t need you to like them. They only need to convince you that the present system is dysfunctional. The rest, as the ads show, is theatre.

Bruce Dowbiggin @dowbboy is the editor of Not The Public Broadcaster (http://www.notthepublicbroadcaster.com). The best-selling author was nominated for the BBN Business Book award of 2020 for Personal Account with Tony Comper. A two-time winner of the Gemini Award as Canada's top television sports broadcaster, he’s also a regular contributor to Sirius XM Canada Talks Ch. 167. His new book with his son Evan Inexact Science: The Six Most Compelling Draft Years In NHL History is now available on http://brucedowbigginbooks.ca/book-personalaccount.aspx