Because they’re foreign. And foreigners are either sinister or comic. Everyone knows that.
But this is the most important thing (because us Brits have standards to live up to):
The most wicked foreign accent of all was British English, according to the study. From Scar to Aladdin’s Jafar, the study found that British is the foreign accent most commonly used for villains….
Some shows also gave foreign accents to comic characters, though British English was almost never used in this way. “Speakers of British English are portrayed dichotomously as either the epitome of refinement and elegance or as the embodiment of effete evil,” the study concludes. “What general sociolinguistic theory would suggest,” Gidney added, “is that American adults tend to evaluate British dialect … as sounding smarter.”
Funny characters, on the other hand, often speak in German or Slavic accents (Dobrow offered as an example the associates of the evil Dr. Claw in Inspector Gadget), as well as in regional American dialects associated with the white working class. [yeah, whatever]
Telling lies to the young is wrong.
Proving to them that lies are true is wrong.
Telling them that God’s in his heaven
and all’s well with the world is wrong.
the young know what you mean. The young are people.
Tell them the difficulties can’t be counted,
and let them see not only what will be
but see with clarity these present times.
Say obstacles exist they must encounter,
sorrow happens, hardship happens.
The hell with it. Who never knew
the price of happiness will not be happy.
Forgive no error you recognize,
it will repeat itself, increase,
and afterwards our pupils
will not forgive in us what we forgave.
“Lies” by Yevgeny Yevtushenko, translated by Robin Milner-Gulland and Peter Levi. From the Selected Poems in the Penguin Modern Poets series, 1968.
where the English wilderness is
in the interstices
along the margins
here at the roadside
deep in grasses, poppies,
mallows and escaped hypericum
wherever the wind bears the seed
wherever the buzzard has moved in
new territory of field, wood and air
not asking for our opinion
us, who are
wilderness in wilderness
(Poem 105: 29/06/08 from the poem-a-day project, 2008 – 2012, Michael Blackburn).
One way to commit evil is simply “not to think,” but willed ignorance of evil already means “the ruin of a human being.” Those who tell Solzhenitsyn not to dig up the past belong to the category of “not-thinkers,” as do Western leftists who make sure not to know. The Germans, he argues, were lucky to have had the Nuremberg trials because they made not-thinking impossible. This Russian patriot advances a unique complaint: “Why is Germany allowed to punish its evildoers and Russia is not?”
Solzhenitsyn discovers yet another cause of totalitarianism’s monstrous evil: “Progressive Doctrine” or “Ideology.” In one famous passage, he asks why Shakespeare’s villains killed only a few people, while Lenin and Stalin murdered millions. The reason is that Macbeth and Iago “had no ideology.” Real people do not resemble the evildoers of mass culture, who delight in cruelty and destruction. No, to do mass evil you have to believe it is good, and it is ideology that supplies this conviction. “Thanks to ideology, the twentieth century was fated to experience evildoing on a scale of millions.”
AROUND THE INSTITUTION posters have gone up exhorting the young folk to become global activists. “Change Your World,” says one of them. “You must be the change you want to see in the world,” says another (good old Gandhi). “Let us pick up our books and our pens, they are the most powerful weapons,” comes the voice of Malala Yousafzi. In the communal dining area the words of Saint Mandela are printed on the wall up high: “Education is the most powerful weapon which you can use to change the world.”
As a now aged man who has seen and endured the results of people wanting to change the damn world — purportedly for the better and with our interests at heart, of course — I wholeheartedly disagree with this advice.