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.”

Esoteric Knowledge 101: Symbols all around Us(Part 3 of 3)

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I was doing some research about ten years ago on symbolism.  And I noticed that there were many Freemasonic symbols on the Apple iphones millions of people use.  I personally believe that these phones can spy on us at anytime.  I believe these freemasons work with the government to spy on it’s citizens. I know for sure that the late Apple inventor Steve Jobs made some type of deal with the government. And in the process he became a billionaire. He sold out the public so that he could get rich. I believe the GPS(Global positioning system) in these phones know where you are at all times.  And that they can turn on the microphones and hear the conversations of your family and friends.  Many of these symbols are on the iphones and most are not aware of it. They know most people are in the dark about this.   They purposely put them in our faces knowing that most people don’t study symbology,the occult,sacred geometry and numerology.  This is esoteric knowledge many don’t know about. So I’m going to educate some of you on these symbols you see on your phones.

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Most people have seen this one.  It’s probably the most obvious one.  It’s the App Store logo.  We’ve been looking at this one for years.  I also thought it was strange that the logo was a bitten apple.  I always thought it was a reference to the biblical Garden of Eden.  In the Bible the bite signifies the “sin of man” by disobeying God. I always believed it meant they would be using these phones in a sinful manner.

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There is the Google Play logo.  Google Play is an app in which people can play music,games and movies.  The logo looks very much like the masonic pyramid capstone.

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This is a very interesting one.  The Facebook App looks very much like the masonic Tubal Cain logo. When a Mason reaches the 32nd Degree, that of Master Mason, his codeword, his password, is Tubal-Cain. While this sounds unassuming and “sterile”, the truth is this, Tubal-Cain is of the lineage of Cain, as in Cain who slew Abel in the Book of Genesis.
In Genesis Chapter 4, verse 22, we see where Tubal-Cain is born of Cain, this chapter giving us the “family tree” of Cain’s off-spring.  I think the logos look way too similar to be a coincidence.  And I’m sure you all know by now that Fakebook…ahem…I mean Facebook collects all your information.  It’s stored into a central database so they know who are your family and friends.

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The Google GPS app looks eerily like the Eye of Providence.  It is a symbol recognized by Freemasons everywhere as a  representation of the watchful care of the Supreme Architect. Are they the same symbol?  I’ll let you be the judge.

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Mason apron...The logo for Google mail(Gmail) is obviously a representation of the Royal Arch apron. The apron looks like the letter M so it fits perfectly.  Once you can see the deception it’s quite obvious.  Here’s a little information on the apron:

“As we have seen aprons have throughout the ages possessed a religious and symbolic meaning, a fact that is well applied to our own present apron as I will shortly demonstrate. However, there is little doubt that the Masonic apron evolved from those worn by operative masons to protect their clothes from becoming soiled. In medieval times all masons, whether Freemasons or Guild Masons, used aprons when at work, and the former also wore white leather gloves to protect their hands from the lime This type of apron used by the speculatives had changed very little in the middle of the 18th century from those used by the operative counterparts. These aprons were long, coming down to below the knees, with a flap or bib to protect the chest.It was the speculative masons who at some point in the 1750’s began to decorate their aprons with designs, usually painted by the owner’s own hand. A number of these examples can still be seen in the Museum and Library of Grand Lodge, but we must remember that at this time no definite scheme existed and each brother was free to adorn his own apron as he saw fit, usually including all the symbols of all the various degrees he had attained. Therefore, many of these designs included symbolism of such degrees such as the Mark, Chapter and Ark Mariner in addition to those of the Craft. In due course however, certain designs became more popular and more standardized. The two pillars with the letters that represented them, and often the names were even given in full became an accepted model for most aprons. To this central motif were added various other emblems such as squares, ladders and so forth which can be found in the 1st degree Tracing Board and Masonic Certificates issued to all Master Masons advanced to the 3rd degree.”

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The Google Chrome logo looks a lot like the Divine King Sign.  It can also be represented doing the “okay” sign with your hand.

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Rapper Drake(above) is throwing up the sign to let you know who are is masters.  There are countless images on the internet of rappers,singers and actors throwing up his sign.  A little background on the sign:

First, we have the circle, indicating the sun deity and the Mason’s never-ending quest for more light. To Freemasonry, the circle also represents the female genitalia, or yoni. In the Hindu religion, the OK sign is a revered mudra (sacred gesture) meaning “infinity” or perfection. It is associated with the female genitalia — thumb and forefinger pressed together at the tips with the other three fingers extended.
In the practice of tantric yoga (sex rituals), the OK sign is a token of ecstasy, spiritual and physical. In ancient Sumeria and Persia, charms and amulets have been discovered of fingers and hands in the modern OK position, joined along with horns implying fertility. The three fingers extended outward are symbolic of ecstatic union with the Goddess, the third member of the pagan trinity.
In Satanism, when making this sign the three fingers not used to make the circle are considered symbolic of the unholy trinity — horned God, Goddess, and offspring (antichrist). Some go so far as to adopt the view that the bent three fingers are shaped as three number six’s, or 666. Thus, we have 666, the sun deity (Lucifer), the Goddess (Mystery, Babylon the Great, Mother of Harlots), and the beast (antichrist, 666), all in one unitary hand sign. Oh what a web of evil wicked men can weave around something seemingly so ordinary and mundane.
In the Illuminist philosophy, the OK sign becomes a sign indicating approval of the Divine King, their coming Lord of Light, whom we as Christians know as antichrist. To them it means, “He approves our undertaking.” This meaning is roughly equivalent to the words in Latin atop the all-seeing eye of Osiris on our U.S. one dollar bill—Annuit Coeptus.”
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And last but not least are the logos for the  Apple App and Android Product stores.  These logos are clearly the same as the square and compass used in Freemasonry.  This symbol has been used in secret societies for many years. The square and circle shapes are related in Euclid’s 47th problem of “Squaring The Circle,” said to be the primary goal of the Masonic craft. Squaring the circle, however, does not in this case refer to a mathematical problem: it is a spiritual reference to man’s instinctive quest to harmonize our physical and spiritual natures.Since Antiquity, the square has represented the physical body. The circle, on the other hand, has always represented the soul. So in a nutsehell, he Square & Compasses thus symbolize Man’s state as an eternal soul manifesting in a temporary body. The circle is our spiritual side that cannot be seen.

So I hope you all enjoyed this esoteric series.  I hope I was able to educate you on a few things you didn’t know.  Let me know your thoughts.