Get Out is About White Supremacy

Get Out the horror/suspense film from Jordan Peele has received no shortage of laurels from both critics and moviegoers, which is in itself a rarity as most critical darlings are not generally appreciated by the public. It is a different kind of horror film however, as it is not necessarily about one killer, but it is ultimately about a family that preys on and kills Black people. They have done this for generations, unflinching, done with the consent and the complete and total blessing of law enforcement.

This movie tells you in no uncertain terms of the evils and the horrors of White Supremacy, of the collected bodies, of the emptied souls, of the destruction and of the benign evils that Whiteness is and has always been capable of. The movie opens up with a literal bodysnatching, on a quiet night, an unassuming Black man is walking around a suburb only to be choked out and dragged into the trunk of a nearby car. It can be safely assumed that this is a very literal parallel to the practice of White Europeans coming into African lands under the cover of night and stealing black bodies for their own purposes, to become their labor forces, to become their forced servants, to become carriers of their names. The first interaction between Chris and Rose starts off innocently enough, but ends on a familiar “my family isn’t racist” note, which falling on Black ears means that they “don’t see race” which means they’re silently racist. Also of note, the interaction between Rose and the police officer actually serves to put Chris in a more dangerous position at the hands of a “benevolent White liberal” though the resolution of the situation plays out in his favor, navigating to that outcome is like playing minesweeper with someone else’s life on the line.

Rose’s parents’ mansion is effectively where you see the full on brutality of whiteness on display, the parents smug and patronizing, the brother’s constant micro-aggression through a weird series of questions ending with a preoccupation with Chris’s physical build and the term “beast” which when directed at Black bodies, specifically Black male bodies, from white lips mean a literal beast only good for physical or manual labor. Rose, here on the mansion at least, functions as a distraction for Chris while he tries to sort through the micro-aggressions of her family and while he works through his own questions. The viewers later see a literal slave auction after the hypnosis of Chris by Rose’s mother, and it is here where there is a mirror held up to the seductiveness of White Supremacy. Though White Supremacy is ultimately responsible for the living lynch victims that are on the grounds of the mansion, it is through the medium of hypnosis that they are even kept there.

White Supremacy itself puts you under a kind of hypnosis that keeps you in its trance, quite literally the casting of a spell to keep you acting inside of its confines. In fact, at the moment where Chris frees someone from the hypnosis, he has been under the effects of White Supremacy for so long that breaking the spell causes a nosebleed. White Supremacy had become such a part of Andrew Logan King’s psyche by this time, that breaking from it caused him pain and he had to be reindoctrinated, psychologically subdued so he could function as White Supremacy intended.

It may be reasonably concluded that the home is the breeding ground for White Supremacy not just in this film, but in American society in general. White Supremacy raises White people who believe that they should be in positions of power and influence and affluence simply because they are White. White Supremacy also raises White people who will befriend Black people simply to get things from them and to use them to punch holes in their “I’m not racist” bingo cards. White Supremacy ultimately uses Black people as trophies, it collects Black people for the use and benefit of Whiteness and that, to White Supremacy is our highest and most noble calling. That is essentially what makes White Supremacy so dangerous and so horrifying and what makes it a perfect vehicle for a horror film. White Supremacy evolves, it changes, it takes on a benevolent tone, it puts on a pretty face, it becomes a Black man or a Black woman chaser, it hides its insidiousness in what may be perceived as a mutually beneficial relationship but it will lead to your destruction.

The ultimate lesson of Get Out is not to trust Whiteness, not for romantic involvement, not for professional connections, and certainly not for deliverance when you’re dealing with more incompetent and or devilish White folks. The ultimate takeaway from Get Out is the evil and the danger and the replication of the age old goals of White Supremacy and that is ultimately Black domination and dominion. The ultimate takeaway of Get Out is that Whiteness itself is untrustworthy and it will go to any lengths to survive, especially if that means using Black bodies as life support. Get Out is absolutely about White Supremacy and you need to understand that before you go see it.

Stay woke, niggas creeping.