The Philosophy of GET OUT – Wisecrack Edition

Hey Wisecrack, Jared again. Pour yourself a cold glass of milk, cuz today we’re talking about Jordan Peele’s social thriller Get Out. While many films explore race in America, what makes Get Out so unique is that it doesn’t go after the usual targets but instead takes aim at an unlikely mark: white liberals. Welcome to this Wisecrack Edition on Get Out. And, of course, spoilers ahead. But first, a quick recap: Get out follows Chris Washington as he meets his white girlfriend’s parents for the first time. While the first half of the film explores white liberals awkwardly attempting social interaction with a black man; the second half of the film takes a pretty horrific turn. After we find out that the party hosted by Rose’s parents is, in fact, a slave auction of sorts, we learn an even more terrifying truth: An old white man wants his brain implanted inside of Chris’ body. “You have been chosen because of the physical advantages you enjoyed your entire lifetime. With your natural gifts and our determination, we could both be part of something greater. Something perfect.” Writer/director Jordan Peele said the story came to him after reflecting on how many Americans thought the Obama presidency signified a ‘post-racial’ era. The film argues that so-called post-racial liberalism is something more terrifying than most would imagine. Throughout the film, Chris is confronted with “totally not racist” white people who have ‘moved beyond’ racism. It explores how this disavowal seems to reinforce a relationship with black people that is, at its best, suspicious and at its worst… well, we’ll get there. But the first act shows us how the attempts of people to show Chris just how ‘not racist’ they are only serves to further alienate him. “So how long has this been going on? This… thang.” The Armitage family seems unnaturally eager to bring up “black people stuff” around Chris- as if this proves that they’re not racist. “By the way, I woulda voted for Obama for a third term if I could. Best president in my lifetime, hands down.” This tendency to over-perform the “acceptance” of all things black only further cements the difference between them, and makes Chris extremely uncomfortable. Chris just wants to to get through the weekend and take some pictures, but everyone around him can’t help reminding him that he’s black, thus only making him feel more “different”. “Gordon was a professional golfer for years!” “Oh, you kidding?” Well I can’t quite swing the hips like I used to though, but I do know Tiger.” This also leads to a situation where any actual racism can be excused as long as one can show how “down” they are with black culture and anti-racist ideas. “Cmon, I get it. White family, black servants, it’s a total cliche.” “I wasn’t gonna take it there.” “Well you didn’t have to, believe me.” The second act exposes Chris to a bunch of white people all fascinated with Chris’s blackness. Party guests want to know what it’s like to be black in America, and even feel compelled to tell him that “black is in fashion.” There is a term for white fascination with black culture that can help us better understand Get Out: negrophilia. The term emerged in 1920’s Paris to describe the craze for black culture amongst the hipsters of the day. Writer Petrine Archer-Straw writes that, for these Parisians, blackness was a sign of young Parisian “modernity.” “Such a privilege to be able to experience another person’s culture, ya know what I’m sayin?” But this had a problematic flipside: “Black personalities were either lionised or demonised in a manner that denied normality.” In other words, they could never be, you know, actual people, and instead existed as one of two stereotypes: brilliant artists or uncultured
animals. Throughout the film, we see both sides of this. Chris is celebrated for his cultural background, yet as the creepy brother reminds us: “if you really pushed your body – you’d be a f***ing beast.” To paraphrase Archer-Straw, in both cases, it’s the white perspective that decides how black people are defined. And this negrophilia isn’t just confined to the desire for black culture, it can be the desire for the black
body itself both sexually; “So, is it true? Is it better?” and athletically. “So Chris, what’s your sport?” And while you might be tempted to think “is it so bad to be desired because you’re sexy and strong?”, well the answer is, yeah. Negrophilia isn’t about truly understanding black people and their culture, it’s about using them to satisfy your own desires. This is not understanding humans, it’s collecting them. And while Get Out exemplifies classic Negrophilia, we see it take a leap forward to the literal colonization of the black body in the third act. Early in the film we learn about Grandpa Armitage’s experience of being bested by a black athlete. “My dad’s claim to fame was beat by Jesse Owens in the qualifying round for the Berlin Olympics in 1936. Those are the ones where-” “Owens won in front of Hitler.” Yeah, what a moment, what a moment. Hitler’s up there with all this perfect Aryan race bullshit and this black dude comes along proves him wrong in front of the entire world. Amazing.” “Tough break for your dad though.” “Yeah… he almost got over it.” Well it turns out that his inability to get over it lead him to have his brain implanted into an athletic black body. And Grandma Armitage? Well, it turns out her brain was placed in Georgina so she could spend her golden years playing dress up as a beautiful black woman. And of course Chris is set on track for a similar fate when he is auctioned off to a blind man who wants his award winning photographer’s eyes. And in an extreme version of liberal racism, Chris’ new owner refuses to attribute his purchase to racism: “Please don’t lump me in with that, I don’t give a s*** what color you are. What I want is deeper. I want those things you see through.” While a white person wanting to literally transform into a black person might sound preposterous, there is at least one American who wishes this was a reality: “Well, I don’t identify as African American, I identify as black, so I’m part of the pan-African diaspora.” The film also offers insight into the psychological experience of black Americans navigating white America. Before the title screen, we see a black guy lost in white suburbs- a metaphor for what’s to come: “They got me out here in this creepy, confusing a** suburba. “Gosh, I’m serious though. I feel like a sore thumb out here.” The physical maze of white suburbia sets a clear parallel for
the emotional maze that Chris will have to navigate. Many of Chris’ interactions seem modulated specifically for his white audience, like during interactions with the police,
Rose seems content to make a scene while the only thing Chris wants to do is not piss off a cop. “No, no, no fuck that. You don’t have to give him your I.D. because you haven’t done anything wrong.” “Baby, baby. It’s okay, c’mon.” Or when he suspects someone’s been tampering with his phone, he quickly drops the issue to not make a scene with Rose’s family. “Forget it, nevermind.” “No, no, no, stop. Don’t do that. Don’t-” “Okay, okay. I’m sorry, it’s all good. Right?” Even something as simple as meeting his girlfriend’s parents leads Chris to worry: “Do they know I’m… do they know I’m black?” And being one of the only people of color at the party leaves Chris anxiously trying to navigate this overwhelmingly white space. “All I know is sometimes, if there’s too many white people I get nervous, you know?” Philosopher Frantz Fanon described his own, similar, experience as a black man living in 20th century France. Fanon describes meeting “the white man’s eyes” as placing a
burdensome weight upon him, one that left him feeling uncomfortable in his own body, and out of place in a world dominated by whiteness. Like Fanon, Chris is burdened by the weight of trying to fit in a world from which he’s fundamentally excluded. “Good to see another brother around here.” “Hi.” He’s caught trying to integrate into Rose’s world, while at the same time trying to retain his identity. “It’s like they haven’t met a black person that doesn’t work for them.” This forces Chris to be two people at the same time: a black man with his own identity, and, Rose’s black boyfriend who is nice to everyone no matter how absurd their questions. To navigate this, Chris has to silence his own identity, a process made literal during a late-night chat with Rose’s mother: eventually viewing his own reality through a screen. “Now you’re in the Sunken Place.” This is the name for a hypnotic state in which one’s mind is separated from their body, and they are left to passively view their own experiences through a screen. When asked about the meaning of the Sunken Place, Jordan Peele tweeted that “The Sunken Place means we’re marginalized. No matter how hard we scream, the system silences us.” According to this logic, any society built upon inequality will inevitably leave those on the outside without a voice, or at best, with a tempered version of their voice. One’s true identity has the remain in the background for the sake of going with the flow. We can understand the sunken place better with some help from sociologist W.E.B. Du Bois, who coined the term double consciousness. According to Du Bois, double consciousness is the internal conflict experienced by African Americans living in a structurally racist society. These societal conditions lead black people to see themselves through the perspective of the dominant societal force, in this case, white people. Chris is repeatedly evaluated by the measuring tape of white society, and in particular, certain forms of white desire. The experience of being constantly examined leads to what Du Bois calls a “two-ness” in the black soul: This imposition leads to confusion about the authenticity of one’s experiences, “She got in my head and I don’t think that was fucked up shit that I don’t want to think about.” and for Chris, this double consciousness has left him feeling like a helpless spectator. If you were wondering why Chris seems to be haunted by the deer he and Rose killed it may not because he’s some kind of PETA activist, but because watching helplessly as a living thing died probably reminded him of his mother’s death. In other words, the sunken place seems not only be a hypnosis technique, but a metaphor for his own life as a helpless spectator. This fear of losing oneself is made literal in the Coagula procedure, in which black consciousness is literally pushed to the background to make room for the white mind; thus he risks being permanently cast into the sunken place. Chris is able to avoid this fate by plugging his ears with cotton picked from his chair which brings to mind poet Audre Lorde’s famous insistence that “the master’s tools will never dismantle the master’s house.” For Lorde this meant that it was futile for the oppressed to use the logic of the oppressor in their attempts at resistance. Instead, Get Out suggests the opposite: Chris uses a type of labor associated with slavery, picking cotton, to assert his own identity and avoid a type of slavery. Chris not only uses cotton to avoid bodily colonization, he re-purposes a bocce ball, arguably a symbol of the white elite, to take out Jeremy. Not to say that bocce balls are blatantly white objects, but, the only thing whiter would be playing hacky sack at a Fish concert. And, calling back to the symbol of Chris’ spectatorship, Chris takes a mounted deer and goes straight for Dean’s jugular with it, a sign he’s overcome the powerlessness he once feared. Chris’ emancipation from this near-enslavement can be seen as a radical assertion of his black identity. While Chris is able to escape the Armitage plantation of horrors, the real hero of Get Out, and the film’s comic relief, is his best friend, Rod. Throughout the film Rod serves as the voice of reason. “White people love making people sex slaves and shit.” And eventually goes to the police once he puts together a theory for why Chris has gone missing. After a, um, revealing conversation with Rose “I know you think about fucking me, Rod.” he decides it’s time to come to Chris’ rescue. “Lyin’ b*tch. She is lying like a mother f*cker. I know that.” But before Rod saves the day, the film’s
most terrifying scene comes from an unexpected source. We all know what is likely to happen if the police show up and see a black man kneeling over the bleeding body of a white woman. While the film’s intended ending was this devastating worst-case scenario. Peele opted for a more triumphant conclusion in the final cut. But the moment between the police sirens and Rod getting out of the car is a stark reminder that the real monster of Get Out isn’t a fictional boogeyman,
but rather, the horrors of the system itself, something that cannot be heroically defeated at the conclusion of a film. And the other lesson of Get Out? Well that one is more obvious: “I’m T.S. mother f*ckin’ A. We handle shit. That’s what we do. Consider this situation f*ckin handled.” Thanks for watching, guys. Peace!

100 thoughts on “The Philosophy of GET OUT – Wisecrack Edition

  1. I've always "preferred " the overtly racist to those who bend over backwards (and sideways) to prove that they're not racist. I like to see what's coming at me. 😎

  2. Is it me or does Jared sound like he's shouting in this one

  3. If they wanted to make themselves appear not racist, then why did they put their family members with black bodies in servant roles? If their minds and brains are of white persons why should they mind having them in an equal position in the family?

  4. 8:25 I haven't watched the movie. But why is there an east Asian dude in the scene? Do we count as white people? I'm Chinese, by the way. And i'm super confused.

  5. This movie reminds me of when I went to Africa. Some African tribes are very paranoid and will scatter if too many people are around or if those people stand in certain patterns. They have a real fear of being captured. So I feel like African Americans think they have this fear because of white people but they had it back in Africa too.

  6. I was fairly confident that I knew where the ending of the movie was going. I was thinking Chris would be on the verge of escape, but the same racist cop that pulled their car over in the beginning of the film would return and reveal himself as another relative or something, and thwart his escape. Props to them for doing something more unique.

  7. Dude….your philosophy on this film is cliche on a cliche topic…..The Take does a more superior job of analyzing.

  8. I definantly have seen people who either act like this or seem like they try to hard to cozy up to black people and it seems like ass kissing and it seems awkward.

  9. The reason why chris's girlfriend says "I know you think about fucking me Rod" is because she trying to lure Rod to the house so that they can do the same thing to him as they were trying to do to Chris.

  10. A great analysis! But I think the movie describes far more than is dealt with in this video. It's a deep, deep, and frankly terrifying, movie.

  11. You wanna not be racist then just talk to someone like they’re a normal person not like they’re a “black person”

  12. At my high school, or what I’ve been exposed to, I guess there’s a lot of diversity. Shocking to me to see how common it is to have a black person be completely mind-blowing or angering to some other people.

  13. "I identify as black."

    Reminds me of that Treasure (something) girl…identified as a white person, even in your typical mannerisms, as whenever she says "we," she means "we white people" when she's pretty, very clearly black, lol.

    Complete bunk, but couldn't see it…

  14. I live in india. For me, this was just a thriller/horror film and a damn good one at that. I just fail to understand how anyone can be racist in the 21st century.

  15. What about the social paradox of embracing diversity and a multicultural world, without making awkward statements that could offend? Seriously. It’s a bit frustrating that my uber white chick status can’t ask a black centered question (or Mexican, European, Russian, Asian) without coming across as a snooty/ignorant uber white chick?

  16. Can we get a movie were the races are switched
    or maybe on with Asians

  17. Negrophilia = Condescending Fascination With Everything Black. Reminds me of Josephine Baker's life story, how she was lifted up by the French, then dropped like a hot potato.

  18. The most disturbing fact about this movie is the fact that when it was first reviewed by white critics, they said it was a "comedy". Yes, there were some funny moments in the film, but that hardly makes it a comedy. Forget that Jordan Peele is a comedian, just WATCH THE DAMN MOVIE AND PAY ATTENTION!!! How could you not see the seriousness and horror of having someone take you against your will and make you a prisoner in your own body??? I can't believe we still have to explain everything black to some white folks in 2019. SMDH

  19. i lost it when I heard "is he better?" in theater. I knew I was watching horror genre but from that point on it was also unintentional comedy for me.

  20. No offence to whites, but I’m pissed off. I was watching this at a Movie Theatre and most of the other whites started hysterically laughing and I lost it. I really don’t think the understand this movie at all and it really made me super fucking mad.

  21. Also I’m not for sure but it’s pronounced W.E.B Doo-Bwah just ic you didn’t know

  22. Racism isn’t about feelings. All white peoples are racist. That doesn’t mean that all of them don’t like us but they benefit from our systematic oppression created by their ancestors. All I’d say is be careful of the liberals, at least conservatives like Trump tell you they don’t like being disadvantaged by us.

  23. I had a similar experience when my ex fiancee took me to meet his family. They were obsessed with telling me how much they loved my weave and how beautiful weaves are and how weaves are now becoming more popular in their culture and how rap music has changed how they viewed music…on and on. I thought it was just nerves. I didn't know negrophilia was a thing lol. Except in my case they weren't trying to swap my brain lol.

  24. OMG! When I first saw this movie I hated it because I thought it was just the typical "evil whites" versus the "black victims" scenario that we often see in films created by black filmmakers. But now it hits home. I often find myself in situations with fake white "progressive" liberals that only like blacks as a whole concept or charity case, but never get to know you as an individual. I remember being at a party with white hipsters and they never ask about my family, likes/dislikes, or anything to get to know ME. The conversation was always about some social justice crap because I'm black. Ironically, when I was at events with more conservative whites they actually LIKED ME as a person even if they were not fans of blacks as a whole. I hope that made sense what I just typed. lol But, which one is better? The fake liberal or the conservative that keeps it real?

  25. This movie is great, but made me sick to my stomach of how these old rich twisted minded animals think and how they are so inhumane!

  26. Small detail, but I always thought the use of the lacrosse stick as a weapon was rather comical – arguably the whitest sport out there lol

  27. all this shows is jordan peele lovesputting white ppl in a negative light. which by the way he said hed never hire a white leading man. what an asswipe

  28. the tiger remark isnt racist at all, but it was a sad attemt at it by jordan. everyone loves tiger

  29. Lesson: Treat people like they are people. Even if they are white,black or asian just treat them like they are persons you can share stories with.

  30. Peele should have stayed with the original darker ending. Much better to end with a gut punch to the audience.

  31. I had a few problems with this. It tries to tackle race issues but my issue is that it portrays it very one sided. Why do white people have to be the bad guys in this? There are good and bad people in every race. It doesn't try to bring people together. It tries to tell me that I am a bad person based on the color of my skin and that is why I have grown to hate this movie. This is the exact opposite of what Martin Luthor King Jr. wanted.

  32. "Such a privilege to be able to experience another person's culture" — that line irked me. What is privilege, freedom of choice, or promising opportunity to for whites is a different story for blacks. Since being plucked from Africa to enter into slavery, "experiencing another person's culture" came by way of force. Living in a non-African culture for centuries often leads to blacks claiming it as their own (not speaking of legal citizenship, here). Native, African languages, history, and culture was/is stripped away to the point of being forgotten or unheard.

  33. Ohh so stereotyping blacks is wrong but stereotyping white libers is fine, double standards, excellent

  34. I like get out.

    I wish more movies like it, explores today's racism even MAGA style racism.

    Normally in movies racists are either KKK or Nazis

  35. American is code for "white". Western is too. Use "white" instead of American and the sentence still makes sense.

  36. Guys I just discovered a hell of a provision: A little after the beginning when rod is on the phone with rose, he tells her joking: Hey Rose, you know that you picked the wrong guy, right?. This phrase is a omen for what's
    coming next.

  37. As a black male myself, I get uncomfortable when a white person says, "Some of my best friends are black.", but he's actually saying, "Some of my worst enemies are black.". Bottom line: FriENd is ENemy

  38. Can’t wait to see Jordan Peele’s next movie! Get Out was great

  39. Females of all races are also stereotyped and pigeon holed by males of all races

  40. I am a white male and I have it rougher than black people. Scoff? How so? Try realizing that you are an individual. Let that sink in.

  41. The movie was way to over rated for me to enjoy. Everyone hyped it up way to much. It was fine i guess

  42. What's crazy is how normal they are. Like later we gone hypnotize you and still your organs but first let's have dinner. Psychotic 😓

  43. Get out was a movie made to stroke the black ego, hilarious how it's meant to be deep then guess what bunch of loud mouths bad mouthing white people the second they leave the theater. Would be amazing if the movie truly left them looking inward instead of giving themselves a reason to throw shade to the whites once again

  44. I'm glad I have my older sister who showed this movie to me, it opened my eyes to a couple of new problems and helped me fix them in myself.

  45. A horror movie aimed at his own people. Yeah, it worked… well!!Baldwin swam in it while living in Paris…enjoyed it completely. 😡🙄

  46. the real issue here is that the elite luciferians believe in transhumanism and eugenics. a great example is the stuff that came out recently about Jeffrey Epstein. he wanted to freeze his brain and penis. he consulted regularly with top world scientists and funded their research. all elites are into this idea of living forever.

  47. F*******k, loved the episode, I'm a huge fan of Jorda Peele and looking at this deconstruction helps me a lot to understand a lot of things, thanks

  48. I have to constantly taylor my personality and identity whenever I'm around white people so I don't have to be stereotyped. I have to actively dismantle every stereotype that society has given me before white people treat me like the criminal and horrible person the media constantly portrays me to be. It is EXHAUSTING living in white America and retaining my identity. I'm literally scared to death of even slightly upsetting white people. I don't wanna get killed by cops or arrested on bogus charges.

  49. The part where rose is making a scene with the police officer, is her trying the police officer not to get his identity. "incase he goes missing" and if he did get his name and if he went missing then that police officer would kinda know where he'd be.

  50. The incredible irony is the concept the film tries to convey is seen in how "white people" overly praised this mediocre film.
    On the surface it's fun, but to push it beyond any entertainment value and analyze intellectually as some sort of sociological revelation the film quickly becomes disingenuous and so do those who praise it on that level.
    The nature of the film and it's perspectives offer no resolution or self-analysis and come off as weird race-based narcissism – seeing it's experience as special, pure, martyr-like, outside of humanity, and above racism itself. Using projection to manipulate outsiders into a no-win situation. There is no right way to act. Only shame. White people have no way out.

  51. Are you sure it’s white “liberals”? I think it’s more like white people in general being uncomfortable around colored people which leads them to excluded the color person. This done by treating different where it’s good or bad like you said in your video. It feels like more like Cultural guilt and cultural appropriation. There is no “liberal” stuff. Liberals are basically for the most part normal people that support the African Americans community like the black lives matter movement. You won’t catch a Republican at those movement. I think it’s more like the main character navigation through a Republican family.

  52. One of my favorite movies of all time. It's so scary and funny and interesting. I was totally amazed when I first saw it not even knowing what it was about. It open up my eyes even more to the things that can and do go on our our world. I'm a truth seeker and sometimes I wish I could unlearn things that I have been learning a lot about because it scares me.

  53. I loved the film, very creative and entertaining. Reminded me of Being John Malkovich in parts. As for the social commentary aspect of the film; meh.

    I mean some aspects of the "black is in fashion" is kinda silly, and true to how some white people think. But I find it quite unsettling that any race/gender other than white male always has to pursue "issues" pertaining to their gender/race's place in society.

    But at least, Peele made a very innovative, engaging film, that was brilliant viewing.

  54. blacks think everyone owes them something, severe inferiority complex coupled with a desperate superiority complex

  55. About the Dubois mispronunciation it's taught it American schools as Do-boy instead of the French Du-Bwah. Can't really fault him much on that.

  56. change black to women, and you have critique of trans ideology

  57. It’s also so smart how Rod was doing exactly what Chris was doing the day his mother died. Especially when he watched TV

  58. I relate to this being an Indian Muslim sometime a polite Hindu person would say I have many Muslim friends or use term u people. I am Indian just like you with a different religion I didn't say I have many Hindu friends?

    Also with physically challenged individuals I completely avoid staring at them I behave with them just as I would with a any human being. I mean it our instinct to be shocked or be curious or be sorry for the person who is physically challenged but when you show it you only hurt the person by making him feel different.

  59. I haven’t seen anyone talk about this, but he talked about how his mom died cold and alone on the road & I feel that he didn’t strangle rose because he wanted her to die cold and alone as well

  60. Please do a philosophy of requiem for a dream. Or deep or dumb. Earthling cinema? I'd be happy if you did anything with that title

  61. Without realizing it, Peale revealed that Progressives (90% of whom are white) are and have always been a bunch of racists and white supremacists (e.g Planned Parenthood and Woodrow Wilson). That is why they always want to "help" blacks. Also, it shows that many/most of them exhibit sociopathy. I loved it! 🙂

  62. So the scene where the cop pulls them over is interesting to say the least. Consider that there are four characters in this scene. There's the cop, Chris, Chris' girlfriend (who she shows) and the psychopath (who she really is and what her motivations are). The cop appears to be suspicious of Chris, and considering that he didn't do anything out of place, the most likely answer is that the cop is cautious of black people. Whether this is the reason he asked for the ID we'll never know, but that's how it will appear to Chris and Chris' girlfriend. Chris is willing to hand over his ID because he has been taught "Follow the cops orders. Don't make any sudden moves. Don't raise your voice.". The psychopath realizes that the officer, upon seeing his ID might cause trouble down the line decides to act. This is where she plays the character of the rebellious white girl. She can defy the officer and raise her voice because she doesn't fear cops. She doesn't hear stories on a regular basis of white women being shot by cops for "looking intimidating". It appears as though her motivation is to protect her boyfriend from harassment, but in retrospect, we realize it may be that she doesn't want a paper trail.

  63. I honestly just feel like no amount of behavioral changes will ever satisfy. The resentment that the black community feels towards the white community is permanent and unchangeable. If whites woke up everyday and were handed a list of things to do and ways to behave, and followed it to the letter, there would still be complaints. This is a pointless endeavor. The resentment and bitterness over history will not ever be wiped clean. The ever evolving and changing hoops that white people are being asked to jump through to make amends for this history, just breeds mirroring resentment. It is a circle of mutually reinforcing distaste that is unlikely to be broken at any point in our lifetimes. We are essentially incompatible roommates being forced to live in one apartment. That is simply how it is and will continue to be.

  64. 12:21 "the voice of reason" followed by "white people love making people sex slaves n shit" really makes you think doesn't it.
    This movie was basically to show that white people are being stupid by faking their love for black people, but they are still racist. I don't think that's a very good message and I don't think it's an accurate portrayal of the western world whatsoever on any level, even historical.

  65. It seems like everyone today misrepresents racism and uses other things to describe it instead erroneously thinking they are interchangable.

  66. you said the n-word, you're now banned from my christian minecraft server

    great video tho👌

  67. Oh my god, this video is spot on! As Im very interested in Sociology and also a reader of W.E.B Du Bois' book The Souls of Black Folk, I still sometimes catch myself being racist, without even knowing. Its something so deep-rooted in our society. I hope we can someday overcome this, I really do

  68. I just realize my best friends is black i mean i never cared about their color or race until i saw this and i think ops i hope no one think I'm like this pople in the movie 😂😅

  69. They should have gone with the powerful ending, it would have taken this film into another realm. As it is it is a wonderful take on Stepford Wives but I feel they wimped out.

  70. Never thought Peele was funny.
    This seems worth fucking with.

    I'm all for changing the Overton window.

    Even though I am well aware its utterly frivolous!

    The concept of being able to adjust said window.
    So implies that nothing is guaranteed.
    And ultimately doesn't matter.

    Que sera sera

  71. The problem is that by trying to not be racist, you're forced to engage in a performance where you have to prove that you're not racist. This is a horrible prison and something that you should reject. Ironically, the only way for different races to live together more comfortably is to not think about racism or worry about it, but simply observe and respond to what you observe.

  72. Racism is on life support in America with the plug in hand ready to be pulled….. White leftist just won't pull it. Video's about movies like this keep it alive, not kill it. People are so far past it at this point its not even funny yet every form of media is desperately trying to convince the masses we still live in 1950.

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