Welcome to Part 5 of a series of posts focusing on the fundamentalist propaganda “He Gets Us” Superbowl ad of 2024.
I strongly recommend you read at least the first section of Part 1 before proceeding, if you have not already done so. It defines a variety of critically important terms, outlines the overarching purpose of this entire series of ads – this billion-with-a-B propaganda campaign – and the relevant religious-political beliefs of those who designed it.
If I could summarise Part 1’s first section in a paragraph, believe me – I would. I have tried, without success. That’s why I point people back to it, because to echo Dickens – without that knowledge, little of what follows will have full meaning for you.
The next three images comprise what I think of as the Intentional Racism Triptych.
On our left panel, we have slide seven. It features one of the least obviously AI manipulated or re-drawn images of the entire selection. It shows an idealised, even nostalgically-rendered oil field with a small number of scattered derricks, with no fracking equipment visible. The field itself is semi-arid to arid, with a mix of brush, tumbleweed, and other similar low scrub plants scattered about. In the distance lie tall hills, somewhere between what I’d call mountains and foothills, without snow. Above that, we have a very blue sky with a smattering of clouds.
In the middle distance sits the a car, the driver’s door open. Strangely in this context, it is a car and not a truck, a four-door sedan/saloon car out of the 1980s, evocative of an early-80s SAAB 900 but with internally inconsistent headrests. (I see you there, AI image generator. Hello!)
In the foreground, in the middle of a dirt road which looks very much like a thin-layer-of-sandy-dirt soundstage, our Saviour – the man who has already found Jesus, an older white man who is an oil field worker – washes the feet of our Sinner, a young Asian woman who is dressed mostly like a hippie in flowing patterned silks and bikini top, albeit more of a 90s hippie revival variant than the original. To her side lies a protest sign reading “CLEAN AIR NOW.”
This Saviour was brought to you by Exxon-Mobil, apparently. He’s where he’s supposed to be, doing “Real Man” work, in a “Real Man” place, bringing oil out of the ground for capitalism. The oil field is pristine, and there’s not a hint of pollution…
…which brings us to the sins of our Sinner. She’s dressed inappropriately for the location, and immodestly on top of that. She’s somewhere she shouldn’t be – and being Asian, that’s not limited to “a protestor in an oil field.” And on top of everything else: she’s a liar.
The air is visiblypristine. Her call for “CLEAN AIR NOW” is therefore a lie, a demand for something she already has – and is therefore an excuse to shut down oil production and hurt the “real man” doing the “real work” and the economy.
I know, I know, as I said, they have their own definitions of truth, and don’t care if something’s an objective lie – but that’s only for them. Definitionally, she’s not one of them, so if they can call her a liar, they will.
She might even be a Chinese communist, since – as goes without saying in their community – all environmentalists are lying communists anyway, and Chinese people are always suspect. Making her ambiguously east Asian – one might say “Chinese enough” – just adds the spice of fashionable racism to the recipe.
“Have you ever been a member of the Chinese Communist Party?”
Now, because the most important image of a triptych is always the one in the centre, let’s skip ahead to the right image first: slide nine.
This image shows a quiet evening scene in a suburban neighbourhood built… it’s hard to say, but I’d guess as early as the late 1910s, and the early 1950s. As always, in the nostalgic and “better” past.
We see two houses, separated by a single narrow driveway, both with established greenery and lush lawns. Two mixed-gender couples are arranged in front of the right house, one on the left side of the frame, and one on the right.
The left couple is clearly Muslim. The hijab-wearing woman – our Sinner – is sitting in an old woven-ribbon-style folding lawn chair, her feet being washed, as the man stands attentively behind her.
The right couple’s man is white, intended to be sitting on some sort of gardening chair, but it’s an AI mess and doesn’t work right but that doesn’t matter. He holds a green apple with a bite taken out of it, which in this context has to be symbolic of something, but the obvious meanings don’t make a lot of sense in this context. His eyes are closed, which also seems to me like it has to mean something, but I’m honestly not getting it.
The woman – our Saviour – is just ambiguous enough to be white, or not, depending upon the viewer. The way she’s rendered, she’s got that Kinda Ethnic vibe that they like when they want not to use a white person but don’t want to make it clearly someone not white either. She’s not wearing a head covering of any kind, obviously, but could be a convert from Islam who married a white man. That would make her okay, fit to lead our Sinner out of her sin – which is, of course, being a Muslim and holding Islamic faith.
While religious conversion isn’t intrinsically racist, in this case, it obviously totally is. See everything from “Jews for Jesus” to the “Muslim Ban” that Trump is pledging to reinstate.
Finally, we move to our centre image, slide eight – by far the most overtly racist image of the set. I want to make that very clear, as I will be describing the intended racist message in explicit terms. That description of their message is fucking well not an endorsement of that message.
Read on only if you understand that last paragraph, because this one’s bad.
In this image, the thin veneer that is the top-level message of compassion, equality before god, and reconciliation has been ripped away; this particular slide is propaganda against refugees and asylum seekers from the south.
Our scene shows a bus full of people unloading passengers on a Chicago upper-middle-class white-picket-fence residential street in the very late evening. It’s essentially one of the Republican “migrant buses,” the kind DeSantis and Abbot have been using to send asylum seekers away from services to a blue state without coordination, notice, or compassion, often in the winter. This exportation of people – arguably kidnapping – serves a variety of purposes which have been discussed elsewhere. The driver is Christian – it’s not ambiguous, there’s a cross hanging above him – and unhappy.
In most of these images, the “saviour” and the “sinner” are on similar levels, physically. Often one is sitting and the other is kneeling on the ground, but there’s interaction to it, an acknowledgement of each other. They’re communicating, sometimes quite clearly. It’s part of the top-level intended message of reconciliation.
Not here, though.
I want to stress, this next sentence is how they know this will be read by their own people:
Here you have the angry dirty brown illegalSinner carrying her anchor baby at full height, looking away, with a mixture of anger and fear, while the white Saviour woman kneels on the ground, looking down, washing the Sinner’s feet. There is no sense of communication between them; our Sinner is ungrateful and unreceptive. Our Savour, the white Christian, is looking down, tense and unhappy, at clean water turning a dark, filthy brown as it washes from the Sinner’s foot back into the basin.
Please understand – the washing water is clear and clean in every other image where it is visible, no matter how dirty the feet are; after all, it represents in part the forgiveness of Jesus, so stays forever whole.
But not here.
That difference means it’s not the dirt on her feet spoiling the water: it’s her, herself, spoiling the water – the water of God’s forgiveness.
One might even say it’s meant to show a kind of poisoning of the water, instead of the blood.
This image is out-and-out racist hate propaganda, pretending – just barely – to be merely one more variation on the theme. Our Sinner’s sin is being here at all and not white, and she is not worthy of redemption.
Even the gay man in image twelve is treated better than this, and believe me, I still have things to say about that image.
I don’t know if I have any Christian followers reading this, but… this is… serious business blasphemy, right? Top level scream-it-to-the-heavens blasphemy against the core message of Jesus. Isn’t it?
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