BLACK AMERICA REMEMBER THE MOVIE GET OUT AND ITS EXPOSING OF WHITE LIBERALS THIS ELECTION YEAR

“The worst enemy that the Negro have is this white man that runs around here drooling at the mouth professing to love Negros and calling himself a liberal, and it is following these white liberals that has perpetuated problems that Negros have. If the Negro wasn’t taken, tricked or deceived by the white liberal, then Negros would get together and solve our own problems. I only cite these things to show you that in America, the history of the white liberal has been nothing but a series of trickery designed to make Negros think that the white liberal was going to solve our problems. Our problems will never be solved by the white man.”

Malcolm X
Daniel Kaluuya in the Golden Globe-nominated Get Out CREDIT: UNIVERSAL PICTURES/AP

I’ve always been completely against race-based cinema. Whether it’s “12 Years a Slave” or “The Help” (nothing to do with the talent and the performances of these actors), it’s just as a Black man you get tired of the same old stories about the same old journey of the poor, oppressed, and disenfranchised Black person. After reading other’s critiques, watching the commentary and reaction in the past 3 years or so it provoked me to give it a try. So, I waited until this year, 2020, to watch Get Out. I’m late but on time; truth never gets old.

One of the things that make this movie amazing is the way it handles the narrative between White and Black people in the United States. Race-based films, especially the ones made in the last decade, have been full of the common talking points of slavery, racism, oppression, “black lives matter” idealisms, and the like.

However Jordan Peele takes a different approach. Instead of placing the interracial couple (in which the story is centered around) in an atmosphere where those around them disapprove of (and softly hate) their relationship like other films typically do. Peele sets the two in an atmosphere where their drama isn’t set around existing in society that rejects them. Peele actually establishes subtly this “acceptance” early in the movie. This is refreshing because most interracial movies would spend most of the time attempting to convince the public to “accept” them; it is the typical “against the odds” and “no matter what they say” trope.

However what sets the film apart and what provoked me to finally watch it is how it was purported to EXPOSE the stereotypical White liberal and the behavior they exhibit that we (Black Americans) so often ignore and attribute blankety to all Whites (which is obviously wrong).

I’ll look examine and echo this in the following categories; the young White liberal woman, the old White liberal woman, the younger White liberal man, and the older White liberal man (hotepnation).

THE YOUNG WHITE LIBERAL WOMAN

Rose, Chris’ girlfriend, was your stereotypical young White liberal woman. Seemingly “tolerant”, open minded, loving, compassionate, and all those lovely things they claim to be. When Chris was concerned about her parents knowing if he was Black or not, she reassured him by telling him that he should give her the benefit of the doubt because she chose to have them all meet and wouldn’t have if they were “racist”.

In one notable scent while on driving to her parents’ house, Rose accidentally hits a deer and calls the police for assistance. After a small conversation, the officer proceeds to interrogate Chris in which Rose defends him against the prejudice cop. This is a classic real-life example of the “white savior” complex. As the film continues eventually Roses true disposition is exposed.

THE OLD WHITE LIBERAL WOMAN

Rose’s mother, Missy, was what we see much of leading the liberal, leftest movement today; a real life example NANCY PELOSI. She mimics the same behavior as her daughter) the young White liberal in her welcoming tones and kind “social graces”, but beneath all of that was a very conniving, presumptuous, intrusive, and as we learn by the end of the film, a very manipulative person (using emotion, pain, and a potentially battered identity).

In the film she harassed Chris about his smoking habit and even used that as a reason to hypnotize him (she’s some kind of therapist). Missy is what Rose will grow into later in life as she ascends into greater heights of her elite liberalism.

THE YOUNGER WHITE LIBERAL MAN

Jeremy Armitage, Rose’s brother, is exactly that kind of guy you can find smugly walking through your standard college campuses every day. As Hotep Nation phrased it they can be “very insecure men who envy and despise the athletically built, handsome, upstanding Black man, but mask it with a ‘dude, bro’ facade”.

Hotep Nation goes on to say; “This envy is heightened when the Black man also has a White woman by his side, and Chris was loving on his beloved sister. Intimidated, they will always seek to physically overpower the Black man to compensate for their lack of confidence in themselves.”

This dynamic is the reason for the juxtaposition of Jeremy and his sister Rose. Jeremy was the one aggressively kidnapping Black men by force as opposed to Rose who seduced them.

THE OLDER WHITE LIBERAL MAN

Rose’s father Dean was a gentleman, which vastly differs from the younger White liberal man attributes of Jeremy. He’s wiser, so he understands the need to present himself as an open father figure of some sorts to lower the guard of the Black man.

“I would’ve voted Obama for a 3rd term”, is classic because it conveys a trusting but soft insult that convinces you to believe this “white dad” isn’t a threat. He’s calculated. He is the type to hold a silent auction of your body in full view because you trust him. Much like what White liberals do in the advocation of abortion.

Once you’ve allowed him to explain away his obscure racial stances, he is now able to push a little harder. Now he can question and lecture you, sowing seeds of misinformation. He can tell you what you need and how to receive it (Joe Biden did this well with his “ya’ll ain’t black” comment). The older White liberal man is often the last to expose himself because he is the most trusted.

LET US CONSIDER

These people come off as your “ideal White person”; tolerant and accepting of all people, especially Black people who are nothing more than oppressed victims in need of help, affirmative action, and massive government intervention, but history shows us it’s mostly vain and unsuccessful pandering and pontificating. White liberals have been using Black bodies for decades to push their agendas.

Whether through protest or legislation, White liberals push Black people to the forefronts of their movements, to be sacrificed for their own person livelihoods and agendas. “Get Out” takes it a step further and literally shows these people occupying Black bodies to live the lives they want to live and dictate the behaviors they want to see from Melanated beings.

Jordan Peele couldn’t have made it any more clear. This is Jordan Peele, a mixed Black man (who is not himself ideologically consistent with what he expresses in this film; cognitive dissonance perhaps?) But I’m sure has been raised around these types and is subconsciously and indirectly ,as Malcolm X did directly, warning us of what has happened and what continues to happen if to Black America if we don’t wake up.

JOE BIDEN IS GET OUT

 Joe Biden with segregationist senator Jesse Helms

In an article published in Current Affairs it points out the fact that Biden was a driving force in the fight against busing and federal school desegregation. “Narrowly speaking, Biden may have voted against an amendment here or there. There were a number of senate-sponsored anti-integration amendments pushed by avowed segregationists around this time, like notorious North Carolina Sen. Jesse Helms. Biden may have voted against some of these. But for Biden to say he took a stand for busing as something “worth losing over” is a gross distortion of his conduct amid intense fights over busing in Delaware, and of his overall record on de-segregation (and might I add other things i.e. 94 Crime Bill). In fact, Biden consistently fought pro-busing measures, sponsored some of the most devastating anti-busing measures, and made some extremely questionable statements about busing and federal desegregation measures in general.”

Asher Smith goes on to note that “Biden’s record of voting and pushing for anti-busing measures goes back to when he first took office as a Democrat Senator from Delaware in 1973. He was not subtle. Biden’s original position was support for busing only as a tool to break legally-required segregation. But Biden soon joined the ranks of the Senate’s more outspoken busing opponents. As historian Jason Sokol noted in a 2015 article for Politico, Biden told the Senate in 1975 that he was ‘convinced that busing is a bankrupt concept.’ Sokol also unearthed a 1975 U.S. News and World Report interview with Biden in which the he identified the real racists: busing advocates. Busing, according to Biden, ‘implied that blacks have no reason to be proud of their inheritance and their own culture.’ It appears the Biden has always felt the need to tell Black people where to go, what to do, and what’s best for them and their (our) culture and he’s even backed legislation to do so.

Get Out shows us in artistic form our current political, social, and, sadly, racial reality. I’ve said it many times, but I will say it again; the most devastating problems that Black people face today have absolutely nothing to do with our history of slavery, racism, or discrimination.

As Walter Williams said “chief among them (our problems as Black Americans) is the breakdown of the Black family, wherein 75 percent of Blacks are born to single, often young, mothers. In some cities and neighborhoods, the percentage of out-of-wedlock births is over 80.” White liberals have been using Black bodies for decades to push their agendas; let’s not allow them to continue to do it in November.