The War Against America's Kids

Dora the Explorer and Caillou are calculated subversive propaganda machines brought forth by foreign governments to undermine the sanctity and security of the United States.

Since the passing of the North American Free Trade Agreement (NAFTA) or Tratado de Libre Comercio de América del Norte [TLCAN], French: Accord de libre-échange nord-américain [ALENA]) the trilateral trade bloc in North America created by the governments of the United States, Canada, and Mexico, there has been a war against the United States. And more importantly, against the future of America - through the children.

A note of history, Prior to sending it to the House, Bill Clinton introduced clauses, which, he hoped, would provide protections for American workers. It also required our “partners” to adhere to environmental practices and regulations similar those of the United States. Being able to enforce these clauses, especially with Mexico, was considered questionable at best. The House grudgingly approved NAFTA in, 1993, by a vote of 234 to 200. 132 Republicans and only 102 Democrats. That vote reflected the resistance President Clinton faced in force feeding the idea that NAFTA would truly benefit all Americans. The agreement was signed into law in the U.S. on December 8, 1993 by President Bill Clinton and went into effect on January 1, 1994.

Since then, the Canadian and Mexican governments have questioned whether they got the raw end of the stick. Ask a Canadian commodity exporter, or small Mexican corn farmer how well NAFTA has worked out for them.

They each decided to get back at the United States.

In a two pronged attack, the Canadian and Mexican governments began an all out assault on their neighbor. Knowing they couldn’t win a battle with their armies, they decided a secret war against the American children would be their most effective assault. Patience would reward them both.

1999, in a hidden bunker in Tijuana, the pilot episode of Dora the Explorer was created.

The show is about a little girl, about age 8, or “Ocho” that wanders around in the Mexican jungle with zero adult supervision. She is bilingual, has an enormous head, and screams every line of dialog. A talking naked monkey, save for his oversized red ‘boots’ which is where he derives his proper name, accompanies Dora on her trailblazing quests. Dora carries a backpack that is alive that holds a talking map that has a stereotypical Semitic voice. Since the map is beneficial to the outcome, it is questionable as to whether the character voice is intentionally Zionistic or not.

In her travels, there are typically many hazards Dora must overcome including downed bridges, falling stars, lost cities of gold suddenly appearing and speaking Spanish. There is also the presence of a bandit named “Swiper the Fox,” a kleptomaniac foiled only by screaming, “Swiper no swiping” a couple of times. No doubt this character shows kids that a life of petty crime is acceptable? At the very least, that crime can be tolerated as long as you simply ask your aggressor not to take your belongings.

Dora is capable of handling herself, as long as the kids speak along with her in a basic pretend low budget “interactivity.” The faux interactivity forces the little “Nino’s y Nina’s” to scream out Spanish to move the story line. The repetition and scientifically designed songs with Spanish phrases causes memorization and learning for the targeted age group of 1-4 year olds.

Also, and more genius, is the subtexual context in Dora the Explorer’s lack of parental figures that creates erosion of the American family unit. The lack of effectual parental figures, save for the once-in-a-while-product-placement crossover of her older cousin Diego, [which is the male cross over version of Dora] creates the illusion to a younger age set that parental supervision is not only unnecessary, it in fact, dilutes fun. Any parental involvement in a child’s activity should be shunned and greeted with disdain.

The success of Dora the Explorer merchandise ($1Billion and counting) is a calculation of the success of the mission to erode the traditional American family, and injecting Spanish into a toddler’s vocabulary.

To the North, in 1998, a second project was hatched. Operation Pebble. Theirs based on the French Canadian books by Christine L'Heureux. In French, the name cailloiu means, “pebble”, but can also mean “Bald Head.”

The storyline revolves around a, 4-year bald “big boy”, named Caillou. Caillou either whines or speaks in a baby voice. He’s rarely in trouble with his hopelessly perky and indulgent parents, who are at his constant beck and call. The family dynamic here is the exact opposite of the Mexican Dora Project. The undermining aspect of the authoritarian love is not limited to his overseeing parental units, but all adults that he encounters. An all knowing “adult” to look over his every misstep advocates the advancement of an authoritarian “Nanny State.”

In addition the creators found it necessary to gain further sympathy for the character and undermine the United State’s healthcare system. Caillou (obviously) has cancer. The fact that he is four, and is living what seems to be a ‘normal’ life, rather than strapped to a chair receiving chemotherapy perpetuates the myth of successful government controlled healthcare system. This is especially dangerous for young children to be exposed to the idea of “Socialized Medicine” when their knowledge of the Canadian system and the US systems differs on the premise of the users “taking care of themselves.” Canadians take it upon themselves to stay healthy mostly to lessen the burden on their fellow taxpayer. In the US - not so much.

The narrator finds Caillou ridiculously charming and always chides the audience regarding the preschool hero’s antics. The unseen narrator was designed as a “school teacher,” but also acts as the enforcer of this totalitarian government. Perhaps acting as a type of ACLU analogy?

Every character is carefully selected ethnically diverse, laughs at the end of every sentence. Perhaps this technique was designed to capture the attention of the target audience of 1-4 year olds? The other unintended positive consequence of the utilization of this uninspired laughing causes anyone over the age of 5 to ignore the program.

The subversive nature of the show begins with introducing the word “about” to young children. Not pronouncing the letter “o” repeated until a young child believes that this is considered “normal” pronunciation. Also, the show introduces hockey as a superior athletic activity over baseball or football. When football is featured on the show – it is either soccer, or much worse – Canadian rules football.

Further, the "Play-school" friendly color schemes of the clothing, furniture, buildings, cars, and, well, simply the world Caillou lives in appeals to the preschooler, but also has zero corporate presence. The lack of any independent corporate identity suggests a realized liberal socialist utopia. Even Sesame Street has corporate sponsorship! It is brought to you by the Letter A, W and the Number 2. Caillou's world has done away with it completely.

American parents, these schemes are now revealed to you. Turn off your televisions, resist the merchandise, and end the war against America’s children!