The “Get Out” Movie Con: Black America Falls For It Again!

When I first saw the trailer for the film “Get Out,” directed by Jordan Peele, I knew exactly what the film was going to be about. I also knew that I wasn’t going to see the film.

However, as the months progressed and hype started to build around the film, it eventually piqued my interested. Against my better judgment, I purchased a ticket and saw it in the theater. I rarely go to the theater these days because of the high cost of movie tickets, electing to wait for films to come out on Netflix or Amazon.

Aside from the film being extremely boring (just my personal taste,) I found it to be another Hollywood propaganda attempt at manipulating the African American audience. What do I mean? Before I get into that, I want to say that the most interesting part about the movie wasn’t the movie itself; it was the way both Black and White audiences reacted. Both demographics praised the film and only a very few critics bashed it. I, of course, was one of the select few who didn’t drink the Kool Aid. I saw something very distributing.

Black people went nuts over the film, calling Director Jordan Peele a genius. The film went on to gross $175,234,425–not bad for a movie that only cost $4.5 million to make. Water cooler talk focused on the film’s many subliminal messages and Black audiences found layers of hidden meaning related to slavery and the oppression of people here in America. But nowhere did they hit on the pivotal message of the film, which was right in front of their faces.

“Get Out” said little about real racism. Rather, it spoke to the mythology of what some perceive racism to be in America. Let us examine the racial totem pole. At the very top are White people, and below that are all other racial groups vying for power. In this climb for power, every racial group that comes to this country desires to gain favor with the White elite who control and dominate the planet. They accomplish this by first denouncing identification with their ethnic group, and two, most importantly, by stepping on Black people. This is clear in the 2015 census results, which showed that most Hispanics identify as White and not Afro Latino or Latino. According to information presented at an annual meeting of the Population Association of America, an estimated 1.2 million of 35 million Americans who identified as being of “Hispanic, Latino or Spanish origin,” in the 2000 census changed their race from “some other race” to “White” on the 2010 census. In fact, whenever a racial issue arises involving the police shooting of a young Black man or issues of mass incarnation, Latinos are nowhere to be found. We only see them and hear their voices when it involves them directly. The same holds true for Asian Americans who seek assimilation with Whites over justice or diversity. In a recent incident, an Asian police officer, Peter Liang, shot an unarmed Black man, Akai Gurley, and was convicted of manslaughter. Asian Americans rallied behind him and created such an uproar that in a highly unusual move, the Judge threw out the manslaughter conviction and set Liang free.

These groups want nothing other than white privilege. Yet, in “Get Out,” we saw none of this played out, as if the only issues a Black man faces are micro aggressions (and not even that) from his girlfriend’s family. The worst he encountered from the White family were some silly preconceived notions about Black people. These are not real threats like getting shot by the police or being prevented from gaining employment so you can feed your family. I didn’t see anyone in that family controlling government policy that would directly affect his life or the lives of Black people.

The end of the film was a further insult in that the resolution came the lack of understanding that to fight racism we need political and economic empowerment, and instead presenting instant emotional gratification by having the Black man fight his way out, as if physical violence can solve our problems.

The film also failed to deal with economic disparity. Viewing the wealthy White family, one may quickly gain the idea that all White people are rich. The film never addresses the oppression poor Whites in our country suffer when they are disenfranchised and made to seem as though they don’t exist, ensuring that their voices are never heard. Their cries for justice are silenced. I grew up in Virginia where poverty was rampant. We lived side-by-side with poor whites who were our neighbors. We worked together and played together. We trusted them because they were fellow victims of the American capitalist system. In fact, Whites gained economic privilege precisely for this reason; the government saw that Blacks and Whites in poverty would identify with one another’s plight and team up to fight the government. Research Bacon’s Rebellion for an example.

This is nothing once the real manipulating begins. The movie calls itself a thriller but it is nothing more than a Hollywood tool for social programming of the Black population. It is propaganda against the idea of miscegenation. That’s why I am so disappointed in our people for falling for this movie. Some may disagree with me and say that Hollywood has no problem with race mixing on screen. You are partly correct. Hollywood has no problem when it comes to White men like James Bond and Captain Kirk screwing all types of women from all over the universe–even green and purple women from Andromeda. But when a Black man makes love to a White woman on screen, all hell breaks loose.

White men simply don’t stand for it and have demonstrated this from Hollywood’s inception. Strangely enough, they have a partner in crime in their racist views; Black women. Black women have no problem seeing themselves as the so-called bed wenches to White men no matter how degrading the role might be, like in the show Scandal. When they see a Black man on screen—or dating a White woman in real life—they lose their minds.

Hollywood, knowing this fact, plays into it to get their brainwashing techniques across. They produce films warning White women not to date Black men and pay tons of money to Black directors to produce films showing White women as crazy, unfit or simply a bad choice for Black men. We need only look at recent films such as “Obsession” with Beyonce, George Lucas’s “Red Tails,” Will Smith’s “Hancock,” and much more. All these films have one thing in common: they focus on a dysfunctional relationship between a Black man and White woman.

Movie audiences don’t know that Hollywood has an unwritten rule which says that an interracial couple (Black man and White woman) on screen should not be portrayed as having a normally functioning (loving) relationship. The couple must be in some storytelling device or plotline that either prevents them from being together or shows one of them as mentally imbalanced, preventing the relationship from progressing. If you don’t get it by now, let me spell it out for you: “Get Out,” was not a work of cinematic genius– it was another propaganda film made by Hollywood as part of its mass programming campaign against Black male sexuality.

Here’s where things get interesting. After the film was released, Jordan Peele received all types of praises for his writing and directing. Press Releases circulated stating that he would now have his pick of Hollywood scripts to direct and was now a Hollywood player. However, nothing could be further from the truth. Jordan could only make “Get Out” contingent upon the fact that the two main characters, Black man and White girl, (Chris and Rose) never stay together. Spoiler alert: Rose turns out to be crazy! If Jordan had pitched a version of the film in which Rose and Chris had no idea what the family was doing and managed to escape together, the horrific events only strengthening their love for one another (a common theme in most films), he would have been blacklisted in Hollywood. I will say it again: Jordan was only allowed to make “Get Out” contingent upon the fact that the Black man and White girl could never be together and the White girl was evil– all to please White racist males and Black women. Do you see the real message of the film?

Black people tend to live through their idols. They were elated to hear that Jordan would go on to direct more Hollywood films. Sorry to burst your bubble, but that is simply not so. Jordan will never be viewed as equal to White directors in Hollywood. Nor will he ever command the same salary as a JJ Abrams or get an equal budget for his projects. Jordan is without a doubt super talented. But he is only a tool used to manipulate the minds of Black people. He will never enjoy the freedom that most white directors are allowed. He is a proxy for them to get their programming across in the same way Magic Johnson was used to get Black people to buy Starbucks, then sold his interest in 105 franchises.

I hate to say this, but Black people are easily manipulated and Hollywood knows it. Hollywood has become more sophisticated in the way they go about it. They used Ava Duvernay, who directed “Selma,” in the same way. Duvernay and the film received praise and awards. Shortly thereafter, rumors circulated that she might even direct the next, Star Wars. Yeah right! But Black people didn’t notice that the same narrative is constantly pushed by Hollywood. That narrative says that our history begins during the Civil Rights era and not as rulers of the planet in ancient Africa. It’s okay for Hollywood to produce films like “Gladiator,” “Cleopatra,” and “The Ten Commandants” with White actors, but I don’t see Hollywood throwing buckets of cash for Black directors to produce these types of films. Instead we are relegated to films that demean us and keep us in check. Our history and legacy are limited to slavery and the Civil Rights.

I want you, the movie going audience, to develop a more sophisticated and in-depth view of the types of films we support. “Get Out” is by no means a work of cinematic excellence. It’s a political film with a clear-cut agenda to reinforce the racist views of White male elites and impoverish Black females. It plays into that unholy union because some elements of our society fear Black male sexuality and agency. Every now and then Hollywood must remind Black men to stay away from White women and warn White women to stay to their own.

Ronald K. Armstrong is an award winning screenwriter and filmmaker. He has produced a number of films and also lectures on Hollywood’s subversive propaganda techniques. In addition, he gives seminars on how others can break into the film industry. You can check out his latest comedy short film, White Power at: www.whitepowerwebseries.com

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