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.”

Heru,Lion King,Black Panther(African Mythology)

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It seems Hollywood doesn’t have any original ideas.  They keep telling the same stories over and over again.  And I’ve noticed over the years they love to tell stories with African origins,legends and mythology.  I remember years ago when I saw the film Lion King by Disney.  It was obvious the story of Simba the young lion cub came from the Kemetic story of Heru.  The entire film is based off of the story of Ausar(Osiris),Auset(Isis) and Heru(Horus).   The exact same story is in the Black Panther as well.  They all deal with African spirituality in some way.  You can see the same theme in the Star Wars films too.  Hollywood just makes the characters cartoons and superheroes to disguise the true origin.  But like I said they have no originality in Hollywood.  And the formula seems to work….so why change it up.  Nothing new under the sun!

Lee Daniels new film….PIMP(Interracial Lesbian Propaganda)

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Looks like Director Lee Daniels is at it again.  Hollywood’s favorite black homosexual director is back with a new film.  The man who made black servitude look good(The Butler) and made black degeneracy look artsy(Precious,Empire). He also has a show called Star on FOX.  A show that promotes homosexuals,interracial sex, transgenders and cross-dressers.  I’ve watched the show twice and could barely stomach the filth promoted on that show.  But now he’s take it to another level.  He has an upcoming film called Pimp. Daniels is the executive producer of the film.  The actual director is white lesbian Christine Crokos.

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Written and directed by Christine Crokos, the love story stars Keke Palmer (Akeelah and the Bee), Haley Ramm (The Originals), Aunjanue Ellis (The Help), Vanessa Morgan (Finding Carter), Mike E. Winfield (Conversations in L.A.), Edi Cathegi (Twilight) and DMX.

Pimp marks the first movie that Daniels — the writer-director-producer behind such TV and film hits as Empire, Star, Precious and The Butler — has executive produced. The impetus for his involvement stemmed from wanting to support a new generation of filmmakers with authentic voices and a unique approach to storytelling.

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Pimp is set on the rough streets of the Bronx and centers on Wednesday (Palmer), who is born into the gritty world of hustling, where she learns the game from her dad. Once he’s gone, she is left to look out for her mother (Ellis) and her girlfriend Nikki (Ramm). In need of more money, Nikki decides to hit the streets for Wednesday for a dream at a better life. In a ferocious battle of survival, Wednesday comes face to face with a pimp (Gathegi) who runs a more dangerous game, leaving Wednesday to fight for love and risk all to save Nikki.

Alexis Varouxakis of 1821 Pictures and Adrenaline Entertainment is producing the pic alongside Victoria Bousis and Christine Crokos. Paris Kasidokostas-Latsis, Terry Dougas, Roys Poyiadjis, Nick Garyfallos, Michael J. Mailis, Corey Large, Gary Ousdahl, Michael Cline, Bader Alghanim, Gina Dwyer, Ali Jazayeri, Viviana Zarragoitia and John Krokidas also are executive producing.

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Daniels’ Precious (2009) received six Academy Award nominations, including for best director, and took home two Oscars. In 2012, Daniels directed the historical fiction drama The Butler, which became a box-office hit, holding the No. 1 spot for three weeks. He is also the co-creator and executive producer of the TV series Empire and Star.

I’ve always liked Keke Palmer.  I always thought she was a beautiful and talented black actress.  I thought she might be someone young black girls could look up.  But I was wrong.  Just like many young black adults in Hollyweird they fall victim to the agendas.  The know they must promote homosexuality,lesbians,queers,interraical sex and transgenders if they want to take their careers to another level.  These sick European demons in Hollywood want to corrupt the minds of black youth.  And they get these sellout black devils like Lee Daniels to destroy the minds of their own people.  Many of the powerful people in Hollywood are satanic and greedy bastards.  And we have to be careful not to follow people just because they have melanin like we do.  We must accept the fact that there are white devils….but black devils as well.  Do black children need to see a black female pimp?  And a lesbian one at that!  Do black children need to see an interracial lesbian affair? Is this inspiring to the youth??  Hell NO!  They are grooming the minds of black children to see this filth as normal.  This is more psychological warfare.  Not to mention the film as bloody violence,murder and all types of black degeneracy. Just more promotion of black people as pimps,whores,hustlers and gangsters.  Haven’t we moved past this? This is why homosexuals like Lee Daniels are rewarded so much in Hollywood. The film is coming out November 9,2018.  Be sure to NOT support this film!  Do not give these sick bastards one red cent! Let me know your thoughts on propaganda films of this nature.

Is the violence in Chicago the Purge films come to life?

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Have you seen the latest Purge film?  It’s being called the First Purge.  It’s the fourth film in the series.  The film is about pushing the crime rate below one percent. It’s supposed to be a test of the sociological theory that vents aggression for one night in one isolated community.  This version takes place in New York.  In a mostly black area that has black people killing each other. When there isn’t enough killing to their liking the government sends in hired gunmen to kill citizens. But…this could never happen right?

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Or has it already happened before? Sometimes I wonder if it’s art imitating life?

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Well in this radio interview(above)  Umar Johnson believes that the Purge films represent what’s going on in Chicago right now.  He says that’s why you have all these unsolved murders throughout the city.  After listening to the interview I must admit he presents a strong case.  Take a listen and let me know what you think.  I’d love to hear your thoughts.

 

Degenerate Sexual Practices of Europeans(Sexbots and Animals)

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The sexual degeneracy of Europeans goes way back to Greek and Roman times. I’ve done a lot of research on what Europeans did back then.  And through white supremacy they want all races to see the world through their eyes.  Homosexuality,lesbianism,pedophilia and bestiality are nothing new to their culture.  But theses are not the ways of African people.  Black people should reject all of these sick practices.  They are anti-life and go against nature.  It is disrespectful to your ancestors to engage in any of this depraved behavior. We are totally different than them.  Their ways are not our ways. Make sure your children know this. We are hue-mans and they are mankind(kind of man) That’s why over the years they have subtly been pushing these sexual practices in the media.  I have seen these practices in television sitcoms,commercials and motion picture films.  Also many of these white social scientists are pushing the idea of transhumanism. Basically transhumanism is the belief that mankind has reached the limits of evolution.  And the only way mankind can keep evolving is through science and technology.  You see many Europeans believe they evolved from monkeys and apes.  Most black people know this is a silly theory.  Most black people in a Creator or a higher spiritual Being.  We have the power of melanin and dominant genetics on our side.  Our melanin gives us the power to reach a higher spiritual level than Europeans.  Since they have a lack of melanin they can not ascend to a higher realm of consciousness. White people have reached their physical and mental limitations.  Which is why they keep searching for the next big thing to turn them on sexually. Africans believe in working with mother nature and the ecosystem.  Europeans see nature has something to be controlled or dominated.  But this is why they are building sexbots. What type of man or woman would have sex with a robot?  They would have to be a very lonely and pitiful person. This is why there is such a disconnect to hue-manity.  All this obsession with cellphones,iPads,iPods and computers has gotten way out of hand.  All I know is that anyone that attempts to have  sex with an animal or robot is very sick!  I say attempt because this behavior is anti-sexual.   Sex is between a man and woman. There is NO other definition of sex.  Don’t let these white social scientists mislead you into thinking otherwise. This is abnormal,perverted,immoral and deviant!  Nothing but pure debauchery! These are very sexually confused people. But this is the type of depraved and disgusting practices these Europeans are pushing on the masses.  Be sure to check out the two videos(above) and let me know what you think.   But stay vigilant and always be aware of this wicked demonic  system.