Heineken International is a Dutch brewing company. This ad starts with a White male protagonist taking an Asian female date into an Asian restaurant/club where lives out orientalist fantasies of grandeur. His obnoxious behavior is made “charming”. Every woman wants to bear his child while every Asian man is some inferior cariacature to spice up his master wet dreams.
|“The Legend”||Guillaume Dolmans|
|The girlfriend||Samantha Rex|
The ad starts with a white male dragging an Asian female by the hand from a back alley and into a Chinese kitchen. He is warmly welcomed for no reason. In return, he claps his hand into a “prayer”. I did not know chefs were also monks.
This is an example of the childlike understanding Westerners have of Asian culture. Do you see Asians going to a bar kissing a Christian cross to “fit in”?
Next, he interrupts and creates chaos by goofing around. The angry Asian male chefs are portrayed as uptight except one chef who finds his insolence “uplifting” and laughs approvingly. Meanwhile, the Asian female is “charmed” by his “youthful exuberance”.
In the real world, he would be relocated inside the walk-in freezer in 20 separate large Ziploc™ bags. The social order portrayed here with the White male welcomed despite being a complete nuissance is one of many instances of social programming that finds itself into real life.
The protagonist tries to grab one of the Heineken bottles from a Chinese waiter, who slaps his hand away. He wanders into the ballroom, where he is greeted by a stereotypical nerdy looking Asian male host, who is dwarfed by the white female beside him. The White female locks her eyes lustfully at the White protagonist.
Is Heineken subliminally influencing to females to see Asian males as sexually undesirable? Both the host and drummer squint as if they’ve been drenched with pepper spray. Why does this ad seem obsessed in creating chink eyes on only the Asian men? Why doesn’t the Asian female also squint like she’s looking for the God particle? Maybe it’s because this is part of how Asian men are castrated by Western media.
An old man challenges him to a magic showdown by pulling a terribly done cgi rabbit, to which the protagonist pulls a Heineken bottle out of his mouth.
We’re 48 seconds in without any semblance of a normal date. Let’s continue this promising journey.
The couple enter and fight through a dressing room of beautiful women who are uncontrollably attracted to him for no reason and fight over each other to touch his face.
This is simply White male aggrandizement. Notice the sharp contrast to all the sexless AM shown so far.
A Chinese paper dragon corners them behind a paper divider, which they jump through and onto a stage, interrupting a live band. Instead of apologizing, they start “dancing” wildly. Everyone else approves and joins them by also having seizures while an unattractive Asian man sings in a foreign language.
Asians are once again portrayed as foreign. The dragon is a good symbol, but to the untrained Western eye, it looks like something ominous. The singer is singing in a foreign language you can’t understand and he also acts in a silly desexualized manner. Like the kitchen scene, this is how we’re subtly programmed to see White is right – even obnoxious and selfish behavior. In the real world, this guy would be arrested for vandalism. Here, he’s just “Livin la vida loca”.
Finally, an expressionless Chinese waiter returns and presents them with bottles of Heineken.
This concluding scene shows that the protagonist “earned a Heineken” by being White, selfish, and obnoxious.
This is orientalism dressed up as entertainment. These Asians are nothing more than ethnic wallpaper that add colour to the White male’s orientalist fantasies of enjoying the admiration of an Asian female and jealousy of white females, arrogantly trashing a place, while ethnic men act as servants by dancing, singing, and cooking for him.
Go home, Heineken. You’re drunk on White privilege.
CATEGORY OF OFFENSE: Self-Aggrandizement ( Whites are Central)
MEDIA TYPE: Online Ad
OFFENSE DATE: January 1, 2019