The movie Hidden Figures was released on Christmas Day 2016. The advertisement put on buses and the like, has three light-skinned black women, one obese, one plump, and one slender, outside NASA, with a rocket taking off. Wow! Black women in space! Phallic symbols!
Almost; according to the sidebar on Google, the movie can be summarized thus: “The incredible untold story of Katherine G. Johnson, Dorothy Vaughan and Mary Jackson - brilliant African-American women working at NASA, who served as the brains behind one of the greatest operations in history: the launch of astronaut John Glenn into orbit, a stunning achievement that restored the nation's confidence, turned around the Space Race, and galvanized the world. The visionary trio crossed all gender and race lines to inspire generations to dream big.”
That has to have everything going for it except for a lesbian and transgender focus.
As the revisionist history goes, the now conveniently deceased astronaut John Glenn, the first American to orbit the Earth in 1962, allegedly asked that the orbit trajectory produced by IBM’s 7090 computer be checked by the “girl,” a black mathematician Katherine Johnson. The calculations can be done on papers by any math-physics final year major:
The mathematics is not too hard, compared to stuff like quantum gravity and string theory.
Apart from Katherine Johnson being light-skinned and blue-eyed, as pointed out by Paul Kersey at
there is no evidence to support the claim of the movie, and plenty of evidence against it. This includes no mention of her at the time, or in later years, by pro-blacks in publications who have generally lamented the absence of blacks in space, or by newspapers such as the New York Times, generally supportive of their agenda. Back in 1969, NASA would have eaten moon dust to be able to push an achievement of a black in the space race, but did not stumble upon the “hidden figure.” After all, this would have played to the same “minority” groups who have made the revisionist history a hit: women and minorities. That this was not done indicates that the events depicted did not happen.
Kersey also shows that the black movement of the time opposed the quest to get to the moon, believing that the money would have been better spent on them. Kersey concludes: “Hidden Figures was made with the painfully-obvious agenda of delegitimizing the contributions of white scientists, physicists, engineers, mathematicians, project managers, aviation experts and rocket scientists. Instead, America’s greatest triumph evidently hinged on unknown black women manually calculating trajectories already confirmed by computers and a white man named Jack Crenshaw.” Jack Crenshaw was the White southerner who actually did what the movie claims the women did: http://www.vdare.com/articles/why-not-a-movie-about-jack-crenshaw-the-white-man-who-actually-did-what-hidden-figures-credits-to-black-women; http://stuffblackpeopledontlike.blogspot.com.au/2017/01/hidden-figures-is-almost-entirely-lie.html.
Predictably, the movie plays heavily on the “racism” of NASA (see:
http://www.huffingtonpost.com.au/entry/hidden-figures-and-the-diversity-conversation-we-arent-having_us_58adc9bee4b0d0a6ef4704920, which is suspicious given that most people would have taken the hidden figure as a White anyway. However, even mainstream sites admit that there has been a bit of Hollywood pc licence involved here:
The story Hollywood is not going to portray is about how the American space age began, by taking Hitler’s rocket team, such as Werher von Braun (1912-1977), and other Nazi scientists, to the United States, under Project Paperclip. Von Braun invented the V-2 rocket for the Nazis, and helped create the Saturn V rocket which took the Apollo 11 mission to the moon:
Now, isn’t that a more significant achievement than the simple one of checking an orbital trajectory? Man got to the moon because of ex-Nazis! Whooah!
In any case, Hollywood heavyweights, Steven Spielberg and J. J. Abrams, will be busy working on the next frontier, which is no longer space, but telling a Syrian refugee drama, about a young Syrian woman who undertakes an epic journey to get to Sweden:
As shown here, they even have the same style glasses.
Some say that Hollywood is dying
because of falling profits. As I see it, this force of darkness cannot die soon enough. Here is an article from the mainstream press, sent to me from one of the Aussies, which discusses an issue that the American press is a bit coy about: