US film review(spoilers) by C.C. Saunders

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In its contemporary context, blackness assumes a violent coupling. Filmmaker Jordan Peele (Get Out) tackles this coupling in both a literal and figerative sense with his latest release Us. Peele depicts humans as “coupled” by a being who mirrors their exteriority. In challenging the presumed singularity of identity, the coupled being obscures reality, simultanously inciting the following query: Are humans replaceable?
Well, according to the film’s doppelgängers, who wear red jumpsuits accessorised by gold scissors, the answer is yes. Viewers meet Adelaide (Lupita Nyong’o) as a child who goes to a mirror house and encounters a girl who looks exactly like her. After this encounter, Adelaide is never the same, and later viewers learn that Adelaide is never the same because she and her doppelganger switched places on that faithful day. Though Adelaide’s parents noticed a difference in their child, this difference, viewers learn, with therapy, could be negotiated. In no time, Adelaide resumes the nurture of her parents and becomes the girl they raised.

The original, for lack of a better word, Adelaide grows up to lead an uprising where the different or the othered, kill their counterparts. Us features a battle between those who reside behind the mirror—at society’s peripheral, and those who look into the mirror and reside at the center. Peele never makes it clear who or what these beings are. The sole reference to identity the film gives is Red’s proclamation that they too are “Americans.”
Red (or Adelaide depending on your perception), to ensure that her initial plan remains in motion, eventually kills the girl whose place she took years. Her son is the only one who knows her secret, a connection she hints at with the early line “stick with me kid and I’ll keep you safe.” Here, Adelaide foreshadows the choice her son will eventually have towards the end of the movie, to share or remain silent. Red/Adelaine’s offspring is also coupled, as he encompasses both the center and the peripheral. Thus, the secret is a gateway to his understanding of self, a gift obscured from the realities of his sister and father.
The film as a whole exhibits a coupling distinct from what it delineates in part. Peele couples black actors with their American counterparts. Specifically, the media exhibits black bodies by way of representation, but the exhibited blackness remains superficial.

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For example, though Winston Duke and Lupita Nyong’o, who occupy the film’s lead roles, encompass a physical blackness in their melanin-dominant appearance, both play roles that could easily be played by white actors. Black actors in race-less roles, marks what the western world calls progress; however, this colorblind casting depicts the violent seizure of power from black people. Colorblind casting extracts black personhood from the black body. Specifically, colorblind roles attempt to circumvent the presumed problem of race. Race in this context also functions superficially; as color is a part, not the whole, of racism. Yet, Peele’s film attempts to showcase those often eliminated from lead roles because of their complexion in a role where their complexion is merely a coicidence. Us eliminates race in a world build on this falsified concept made real in the systemic disenfranchisement it continues to afford black people.
Thus, US makes “us,” or the black person, invisible by casting melanin dominate actors as coupled with an American identity that has never truly been theirs.
US and Social Reproduction of the Invisible [Wo]Man
Though I do not think it was intentional, Peele presents a diasporic discourse with Us. Particularly, the coupled identities that dominate the film illustrate the black individual as coupled by a collective identity. The envy dynamic present between Adeline and Red illustrates the envy many blacks within the diaspora have towards the black displaced in America, or what I will call the “invisible man.” The phrasing “invisible man” alludes to the Ellison novel where a nameless protagonist struggles to see himself in a world built on his invisibility. My use of “man” does not cite gender but references “human.” This invisible man remains largely invisible to his diasporic brethren who often view him or her as a “favored child” in the disillusion of black disruption. Us, in its depiction of black persons as the invisible man, depict the coupling of the black body and personhood as crippled by disallusion.

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By the film’s end, Adeline loses her life because her diasporic doppelganger (Red, who eventually becomes Adeline) wishes to be her; so, Red assumes Adeline’s space and takes her place. This is very much the reality for black people throughout America who have witnessed the perils of racism and prejudice, perils strategically aggravated by immigration. Buried by the fantasy that is American idealism, the invisible man remains invisible to many of their diasporic brethren who are often unable see to past this veiled reality. Instead, this invisible man becomes a hyper-site for a social reproduction that affords white hegemony its violent stagnancy.
In Us, Adeline encompasses the “invisible man” ideal that her counterpart seeks to socially reproduce. Red sees the space Adeline occupies as a bridge to a better life. She (Red) deems her position in American’s peripheral as inferior to the central placement of her doppelganger (Adeline). This notion is particularly complicated by Peele’s colorblind roles, where the black actor remains in the periphery despite seemingly central placement.
Nevertheless, I digress.
Red believes that she is more deserving of the space Adeline occupies and thus would occupy said space “better.” This is often the ideology many Africans in America face with our diasporic brethren who become “model minorities” in seeking to occupy the American space “better” than their kidnapped kinfolk. America, for the being of black form, is a site of physical and mental abduction perpetuated by the continued pressure to assimilate. This assimilation, despite its societal perception, does not mark achievement but cultural compromise. Thus, it is Red’s desire to socially reproduce the invisible man that drives her sadistic and physically violent attempt to take-over an exclusive space. It is this desire to socially reproduce the invisible man that makes the mentally enslaved black predisposed to attack those who look like them and not their true oppressors. As long as the oppressed see themselves as the enemy, the narrative remains focused on the oppressors. Thus, Red/Adeline and her diasporic counterpart cannot co-exist because then the narrative runs the risk of becoming “us,” and within this global paradigm of white supremacy, it must always be about “them.”

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Peele’s colorblind casting alludes to the Duboisian notion of double consciousness in his depiction of the black person is physically split into two selves. So while viewers physically see black actors, the main role remains reserved for white cultural hegemony. What I mean here is that viewers see black actors but are forced to engage with the white space these black actors wish to occupy rather than the black actors themselves. It is the desire for American-ness, or to exist beyond blackness, that makes Us’s viewing experience a visual engagement with the invisible man. Specifically, with “Us,” black viewers witness what will become of them if espoused to an American identity. The film functions as a visual illustration of the “black American” or “African-American” concept that the abducted Africans in America must detach from as a rudimentary step in our collective liberation.

Buried under the American fantasy and entombed by the fiction of progress, there is no “us.” This fact is perhaps best illustrated when Red kills another black women to aid in a white plight to assume a space.
It is Red’s desire to socially reproduce the invisible man that drives her sadistic and physically violent attempt to take-over an exclusive space. It is this desire to socially reproduce the invisible man that makes the mentally enslaved black predisposed to attack those who look like them and not their true oppressors. As long as the oppressed see themselves as the enemy, the narrative remains focused on the oppressors. Red/Adeline and her diasporic counterpart cannot co-exist because then the narrative runs the risk of becoming “us,” and within this global paradigm of white supremacy, it must always be about “them.”
The singularity Red seeks and attains ensures that there is no “us,” if there ever was an “us.” Her actions represents the inevitable end for a group who remains disrupted. As a product of a festered disruption, the black collective, in part remains what they made of “us.” The black representation seen on-screen and throughout politics, education, and every other field, is not us and has never been us. It’s them.
Conclusively, as evidenced by his latest film venture, Jordan Peele also fails to represent us; rather, he remains vested in “them.”

Are major sports(NBA,NFL,MLB) all scripted?

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The NBA finals started this week. The Golden State Warriors are playing returning champs Cleveland Cavaliers. So I thought this post would be fitting. This is an old picture(above) of NBA star Lebron James.  I think it’s from 2003.  He’s holding up the number 4.  Some speculate that he’s saying he’s going to win four championships during his career.  But how could this be? How could he know this? Are sports rigged?  People have speculated for years that all the major sports are scripted.  Many say that over the years many fans have become bored with many games so they need to be exciting to create interest.  I have heard many people say that all the sports owners are Freemasons.  They all belong to a brotherhood that decide months(even years) in advance who will the Super Bowl,World Series and NBA championship.  This is hard for most people to believe because there are so many people involved in team sports.  I grew up playing basketball,football and baseball. I think sports can build your competitive nature and teach you about good sportsmanship.

This is a video by RFG Chosen One.  RFG is really good at numerology and symbolism.  He gives a great breakdown on why he thinks Lebron James will win his fourth NBA championship.  He claims it’s part of a King James ritual. And that the powers that be use numerology in these rituals.  Check out the video and see what you think.  It’s pretty good.

This is a video by YouTube user Zachary Hubbard. In this video he talks about the rigging of Super Bowl 51.  He says that Patriots quarterback Tom Brady is not very athletic at all.  And that the Patriots amazing comeback against the Atlanta Falcons was all scripted to make Brady look like the greatest quarterback in history.  I would agree with him.  I’ve never thought Brady was that good.  He’s always been overrated in my opinion. Hubbard believes that Zionist Jews own and control the outcomes of all major sporting events.  He says they use the numbering system of gematria. According to Wikipedia the definition is as follows:

“Gematria originated as an Assyro-Babylonian-Greek system of alphanumeric code/cipher later adopted into Jewish culture that assigns numerical value to a word/name/phrase in the belief that words or phrases with identical numerical values bear some relation to each other or bear some relation to the number itself as it may apply to Nature, a person’s age, the calendar year, or the like.

Similar systems, some of which were derived from or inspired by Hebrew gematria, have been used in other languages and cultures, i.e. Greek isopsephy, Arabic abjad numerals, and English gematria.”

Hubbard says that if you study gematria you can look at the scores of the games and see that they’re scripted. It’s a way of decoding the script.  And know people will not believe this.  It’s hard to believe it because we want to believe in “fair play” and honest competition.  Also the question becomes…who’s in on it? How many athletes know it’s rigged?  Is it just the superstar athletes and not the minor players? What about the referees?  We have to keep in mind that the NFL,MLB and NBA bring in billions of dollars every year.  That is a LOT of money!  The owners of these teams own the players and the league employs the umpires and referees as well.  So it is really hard to stage the outcomes when you own and control everything?

This is a great video by YouTube user LOD vs The Internet.  He says that the World Series was rigged for the Chicago Cubs to win last year.  He says the number 108 was part of the ritual.  The Cubs hadn’t won a World Series in 108 years. In sacred numerology 1+0+8=9.  Nine is very important number in numerology.  It’s the number of completion and considered a divine number.  Check out his video,he makes some great points.  I will have to do a post about numerology in the future.  I don’t think most people realize how much numbers and symbols are used in the media.

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Check out this pic(above) of Lebron James if you still don’t think athletes are controlled. Look at the tattoo on his chest.  That tattoo on his chest is the symbol for the Boule. It’s an African American Greek-lettered organization known Sigma Pi Phi.  It’s kind of like a black version of Skull and Bones. Notable members are Vernon Jordan,Ron Brown and W.E.D Dubios.  I did a post about the Boule in the past.  You can check it out if you haven’t already. It’ll give you a better understanding of what they are about.

https://kushiteprince.wordpress.com/2012/09/11/the-boule-skull-and-bones-society-part-1/

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So why would Lebron have that logo tattooed on his chest?  James never went to college. He went straight from high school to the NBA.  So it’s obvious to me he must’ve joined an elite class of black people.  But they are controlled by more powerful Europeans that gave them their positions in America.  So they get to decide how far up these black people can go.  This is not to say that great athletes like Michael Jordan,Kobe Bryant and Magic Johnson weren’t very skilled.  Their talents are God-given and all their own.  But it would seem to me that these white folks in these secret societies want to control black bodies.  They want to decide when and where they win championships. Do you think that sports are rigged?  Reality shows have “soft scripts”. Films have scripts. So why not sports? How deep is the matrix? Just a little food for thought.  Let me know your thoughts.

Harriet Tubman on the $20 Bill?-Naazir Ra

They want to put black hero Harriet Tubman on the $20 bill. What does it mean?  Is this progress?  Does this mean black people are now accepted by the mainstream?  I sure as hell don’t think so.  Naazir Ra breaks down what this realize means.  And what it really symbolizes.  There’s a much deeper meaning behind it.

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