Why I will not be seeing Wonder Woman

Black Wonder Woman....jpg

I almost did it. I selected a theatre and even looked up showtimes. As I began to mentally assemble my outfit and rework my schedule to accommodate viewing the film, I realized that I was all too familiar with this story.

Wonder Woman is yet another page in the consistent white female narrative designed to portray white beauty intertwined with an earthly anglicism. I need not see this film to know that it will portray the white Woman as the catalyst for all things good in a “bad” world.

Contrary to the ideally nurtured in the western world, the bad is seldom blatant. Both the individual and the collective have a fair chance at combatting that which they can see. The true “bad” in the world lies in Wonder Woman-like figures, whose embedded message seeks to uplift through depicting the very exclusivity that dominates the western hemisphere.

Wonder Women debuts in a climate that veils this exclusivity with the implication of “change.” Seemingly every film and television series has adopted the feminist agenda, avidly if not aggressively, feeding this fictive utopia to the masses. The film exists to promote feminism as the cure to all worldly evils, omitting of course that feminism is a worldly evil. Clad in a form-fitting costume with long and silky dark hair, Wonder Woman encompasses the conventional sexiness of a blonde with the rarity of a red head to project feminism as the height of femininity. Wonder Woman is a dark haired, dark- eyed white Woman–the pseudo “every woman” in seeming to encompass lightness and darkness simultaneously. What the casual gaze may fail to see, is that Wonder Woman resembles her target audience, and encompasses all her acquired audience wishes to become.  Her dark hair provides a strategic contrast to her fair skin, painting the “Wonder” of wonder woman as encompassing the figurative light to societal conflict or darkness.

The wonder in Wonder Woman is that she embodies the antidote to all the world’s problems. She’s Helen of Troy mixed with Hilary Clinton–a savior to white women but a mortal enemy to the woman of a darker hue.

Cinderella.....

Western childhood functions similar to this film, painting the white Woman as Wonder Woman in far less attractive variants. From the abundant white female school teachers, to the tooth fairy, Mrs. Claus, every princess from Cinderella to Snow White, the white female body is a consistent figure of humanity to the western gaze.  These figures function to embed into the black female psyche what “Superman” and “Batman” seek to implement into the general western psyche–that if you are white, anything is possible.

But as the young girl who reads these stories, attends these schools and watches these figures on television grows up, the fantasy of Wonder Woman vanishes into reality.  Instead the harsh world eventually prompts the once naive black body to wonder what was ever wonderful about these pristine figures of their childhood. Although portrayed as the hero in fictive and real scenarios, the white woman is gradually unveiled as an inevitable villain to the black female body.

So, as a black woman, I know this film functions as erasure. I know this film functions to seduce me into a amnesiac state where I falsely separate white female action and intention from white male supremacists. From the white women who chase our black men than scream rape when it goes sour, or objectify our wealthy black men as cash registers, or reduce the quotidian black man to his genitals, to the white women who abrasively target black women at work, back to the very white women who tormented the black female slaves—this movie functions to force the black psyche to accept a white hero, despite centuries of white female villainy.

White heroes, whether male, female, trans, or what have you, are never capable of saving anyone but themselves. For healing is incompatible to the autocrat, who decorates their lives with the blood of the oppressed.

Wonder Woman

Therefore, the true wonder woman will never occupy a leading role in mainstream film. She probably will never make six figures and is unlikely to rouse a shallow gaze on the street.

The true wonder woman has probably yet to arrive home from her twelve-hour work-day, her twenty-four hour job as a mother, or full- time victim of white supremacy. The true Wonder Woman sleeps at night with a six-figure debt heavy on her conscious from daring to dream outside of the confines of systemic oppression. She walks through a neighborhood of businesses owned by any and everyone but those who look like her. She faces ridicule for her skin tone, her nose, and curvy body and faces countless queries if her beauty or attributes are deemed outside the scope of blackness.  The true wonder woman is literally and figuratively raped, never respected, or rewarded. She is frozen in time, pieces of her flesh still floating throughout the Atlantic Ocean, or concealed in an unmarked grave beneath a skyscraper. She is dismembered by a system who uses her limbs to assemble their privilege and writes their laws in her blood.

She is the unspoken gospel of this poached land—the original statue of liberty—the feminine mold to which every race, ethnicity, and creed stealthy covets.

The Wonder Woman film exists to place the “wonder” into the woman concept. As a being excluded from this concept, I replace wonder with “black.” For the black woman does not need wonder, she is wonder. Furthermore, members of the black female collective need not go to the movies to view this fictive wonder woman—they must simply look in the mirror.

Article by CC Saunders

Lisa Bonet & Biracial Women-Black Genetics(Part 4 of 4)

ca. 1988 --- Lisa Bonet --- Image by © Lance Staedler/CORBIS OUTLINE

The first time I saw actress Lisa Bonet was on The Cosby Show.  The main stars on the show were Bill Cosby and Phylicia Rashad.  The other daughters were played by actresses Tempestt Bledsoe,Keisha  Knight Pulliam and Sabrina Le Beauf. But Lisa was clearly the most popular daughter. Lisa  played Denise  Huxtable.The show came on back in 1984.  I remember a lot of black boys in my neighborhood had a crush on her.  I wont lie,I thought she was pretty too.  I remember a classmate telling me that she was biracial and had a Jewish mother.  I did think it was a bit strange that she looked biracial but had two black parents.   I remember on the Cosby Show there were all different shades of black people.  I also remember she did a spinoff show called A Different World.

jasmine-guy

I remember that the character Dwayne Wayne,played by Kadeem Hardison had a huge crush on Denise Huxtable.  Eventually Lisa Bonet left the show to start a film career.  After she left Dwayne fell in love with Whitley Gilbert played by Jasmine Guy(pictured above).  The thing I noticed about these women is they are both biracial.  Why is the mixed woman the object of affection so often? I didn’t think about it much as a child.  But I started to think about it more as I got older. This is something that has been going on for quite some time.  I’ve covered this subject before and it needs repeating.  It’s not really about just Lisa Bonet. She’s just one of the first examples I remember where the mixed woman gets all the attention.  I’ve seen this pattern over thirty years.  And it’s steadily increasing.  But it’s mostly about the fact that Hollywood still uses biracial women has the standard for beautiful black women.  And also we as black people have a problem liking any group of people that look “less black”. This is a learned behavior. I’ve seen it in film,music and television. It’s really nothing new. I’ve seen it throughout my whole childhood.   You may find some of these women attractive.  But the issue is not their attractiveness. The issue is the over abundance of mixed women being in the forefront representing black beauty. There’s so many I could never list them all.  But here’s just a small sample of  some of the more popular ones.  And even some biracial women you may not be that familiar with.

sade

Long before Mariah Carey or Alicia Keys….Sade was the biracial songbird that took the music world by storm.  She was  a huge star in the 80’s.  I admit I like her music.  She really has a lovely voice.  I remember guys in my neighborhood would always say she was so beautiful. Her being biracial probably didn’t hurt too much either. They said she was wife material.  It’s funny because rarely did I hear them say that about Anita Baker,Patti LaBelle or Jody Watley very much.

rae-dawn-chong

In the 80’s biracial actress Rae Dawn Chong was the “black” actress in many Hollywood films.  Although she was mostly paired with white men.

jennifer-beals

Actress Jennifer Beals became a huge star when starred in the film Flashdance(1983).  She played an exotic dancer in the film.  Her mother is white and father is a black man.

vanity

In the action film Action Jackson(1988) the late pop singer Vanity played the love interest to Carl Weathers.  The biracial singer whose real name was Denise Matthews also dated pop/rock  icon Prince.

karyn-parsons

On the sitcom The Fresh Prince of Bel-Air(1990-1996)  biracial actress Karyn Parsons played Hilary Banks.  She played the cousin of Will Smith.

MSDJUFE EC012

In the interracial drama Jungle Fever(1991) biracial actress Lonette McKee played the wife of Wesley Snipes.  He cheated on his biracial wife for an Italian woman.  I guess his wife wasn’t white enough for him.

mo-money

In the film Mo Money(1992)  Damon Wayans starred with biracial actress Stacey Dash.

halle-berry

In Boomerang(1992) Eddie Murphy was paired with biracial actress Halle Berry.  Robin Givens was also in the film but Halle was the women every guy wanted. Of course Halle was the go-to mulatto throughout the nineties. And even won an Oscar award in the process.  She became the “pretty black woman” in Hollywood.

mariah-carey

Sade ruled the 80’s but in the 90’s Mariah Carey became the mulatto singer the media feel in love with.  I remember on music channels they would say she was a beautiful black woman. Mariah used to always insist that she was biracial though. Lately she has been getting more in touch with her black side.  Maybe it was because she married black actor/rapper Nick Cannon.  They have since divorced after having two children.

sister-sister

The sitcom Sister Sister(1994-1999) was a big hit among teenage girls.  It starred biracial sisters Tia and Tamera Mowry.

mya

R&B pop singer/dancer Mya was biracial as well.  She first came on the scene back in 1998. She did a little acting in a few films.  Some thought she would be the next Janet Jackson.  I haven’t heard much from her lately.  Not sure what she’s been up to.

kristen-wilson

In the 90’s biracial actress Kristen Wilson was paired with black actors like Eddie Murphy and Damon Wayans.

Gloria Reuben....

Biracial actress Gloria Reuben was on the hit drama ER(1994-2009)  Her character always had troubling finding love.

Michael Michele.....

I also remember actress Michael Michele(above) was  on the drama ER the same time as Gloria Reuben.  She was a nice addition since there wasn’t much “color” on that show.  Of course she’s biracial as well.

carmen-ejogo

What’s the Worst That could Happen(2001) Starred Martin Lawrence and biracial actress Carmen Ejogo.  She usually plays a black woman or a racially ambiguous role.

This is a great video(above) by Youtuber Chrissie.  She perfectly explains the double standard when it comes to biracial beauty.  There’s  a lot of dishonesty when people talk about colorism and the advantage of being biracial.

kandyse-mcclure

Biracial actress Kandyse McClure is from South Africa.  She has starred in films like Children of the Corn and Broken Kingdom.  She’s most known for the sci-fi television show Battlestar Galactica(2004-2009).

Amerie...

R&B singer Amerie debuted in 2002. There was a lot of buzz about her in the beginning.  Her “exotic looks” come from her black father and Korean mother.  Her only hit single was “One Thing”.  Some thought she would dethrone Beyoncé as the next big thing.  Didn’t quite happen though.

Cassie

R&B/pop singer Cassie Ventura(knows as Cassie) on the scene in 2006.  Her father is Filipino and mother is  black/Mexican.  She has done some acting as well.  She obviously wants to be a bigger star. Although she is most known for dating music producer Puff Daddy. She has been his on/off again side piece for the last few years.

In the black drama ATL(2006) biracial actress Lauren London was the love interest to rapper/actor T.I. This film was supposed to make London the role model for all the  biracial ghetto hood chicks.  I guess she’s living up to it.  She already has two children by two gangster rappers.  One with Lil Wayne and Nipsey Hussle.

paula-patton

In the film Idlewild(2006) biracial actress Paula Patton played the love interest to rapper/actor Andre Benjamin.  Over the years she has starred alongside Denzel Washington and Tom Cruise. At one point she was dubbed the “next Halle Berry”.

thandie-newton

In the comedy film Norbit(2007) biracial actress Thandie Newton was paired with Eddie Murphy.  Norbit was a horrible film.  A total waste of film!

Leona Lewis....

I remember when pop singer Leona Lewis dropped her debut cd Spirit in 2007. The British born singer has a black father and white mother.  She made a big splash in her debut.  She has the light skin,light eyes and long hair….and could actually sing. It’s no wonder music critics called her the “new Mariah”.

noemie-lenoir

In the comedy action film Rush Hour 3(2007) mixed-raced actress Noemie Lenoir was the love interest for Chris Tucker.

jordin-sparks

Singer Jordin Sparks won the show American Idol back in 2007.  The biracial singer was seventeen at the time.  I think that show is rigged anyway…I’m just saying.  She has become quite a big star over the last several years.

tracee-ellis-ross

Biracial actress Tracee Ellis Ross stars on the silly sitcom show Black-ish(2014-).  She plays the wife of Anthony Anderson.  Her mother is music icon Diana Ross.  Her father is a Jewish businessman.

CULT

On the Fox show Gotham(2014-)  biracial actress Jessica Lucas plays Tabitha Galavan. She is not only a vicious villain buy also plays a lesbian.  You know Hollywood always has to throw in that sexual confusion.

Sage Steele....

There are even more biracial women in news media as well.  This picture(above) is ESPN sports reporter Sage Steele with her white husband.  Steele is most known for being a white racist apologist. She never misses an opportunity to insult black people and the black struggle. Does that make her a mulatto coon?

Soledad OBrien....

This is biracial news anchor Soledad O’Brien.  She’s a news anchor on CNN. Just like Sage Steele she also married a white man. Look at those children. You can see the African features are just about gone!  Kiss those black genes goodbye!  But I guess that’s purpose of marrying white anyway.

Melissa Harris Perry...

This picture(above) is of biracial news anchor Melissa Harris-Perry.  She is pictured with her mother and father.  She is an author and political commentator. She had her own show for four years(2012-2016) on MSNBC. Unlike Sage Steele and Soledad O’Brien she decided to marry a black man.

Kylie Bunbury...

On the Fox show Pitch(2016-) biracial actress Kylie Bunbury plays Ginny Baker.  It’s a show about the first woman to play major league baseball.  So…they couldn’t find a woman that was just black??  Nope!  They have to cast the biracial woman as the center of attention.

Kara Royster....

This picture was very interesting to me.  I found it very eye opening.  This is part of the cast of the Disney show K.C. Undercover(2015-present). From left to right the actresses are Zendaya Coleman,Jasmine Guy,Kara Royster and Tammy Townsend. The first three women all have white mothers.  Townsend has a white father and a black mother.  That’s right..all of these women are biracial. How is that possible that ALL of them are biracial? They casted all biracial women.  Could this be an accident? I’ll let you decide.

BTS Miss Mulatto "No More Talking" photos by Thaddaeus McAdams for SoSoDef

This young lady is rapper Miss Mulatto.  That’s not a misprint,you read it right.  Her actual rape name is Miss Mulatto.  Her real name is Alyssa Stephens.  The 18- year old rapper is most known for being on the reality show The Rap Game.  I just find it interesting that she is capitalizing off of the popularity of being racially ambiguous. And using that as a way of being seen as unique in the rap world.

Tinashe...

Then we have pop singer Tinashe. She is biracial as well with a black father and white mother. She’s an okay dancer but not the best singer.  But you don’t have to be able to sing in the music industry anymore.  You just have to have the right “look”.  Maybe Tinashe will be the next Zendaya. Or the next Jordin Sparks? On the next Mya?  Who knows! I ‘m starting to get them all mixed up.

cynthia-robinson

Biracial actress Cynthia Addai-Robinson is getting a lot of roles lately.  She has appeared in films like Colombiana and The Accountant.  And shows like Texas Rising,Arrow and Shooter.

jamie-lee-kirchner

Actress Jamie Lee Kirchner(pictured above) was born in Germany.  She has a black mother and white father. She has been in shows like  CSI,Dollhouse and Bull.  Although she has brown skin she is still biracial.  Some people get fooled by this. Not all biracial women have really light skin and light colored eyes.  Some of a bit more melanin but they don’t always have African-textured hair.  Many of them have lanky hair with a bit of a curl to it. This is just a small sample of biracial actresses and singers.  I could’ve listed a lot more.

black-women

But the main point is that many of these white Hollywood casting agents don’t think that deep brown skinned and dark chocolate-colored(not biracial) women are good enough. They don’t have the “exotic look” they’re looking for. They don’t want African(Original)looking women with black features representing the black race.  And they purposely promote biracial women in films and music as the standard.  Otherwise why do they keep doing this?  People say “well black people  come in many different shades”.  Okay then why do the biracial women get so much of the attention.  We all know why. The truth is white people(other races and some blacks) believe that  mixed race women are more  attractive than black women.  They don’t think that black women that are 85% black or more should be the standard.  But this colorism madness needs to STOP!  There are plenty of darker skinned actresses and singers that don’t get the shine they deserve.  I want all my sisters to get the limelight.  She can have  full lips,thick thighs,african textured hair and dark skin.  This is not about bashing biracial woman. Like I have said before,I have biracial people in my family.  I have cousins that have married whites and Mexicans(Hispanic whites). I But I don’t consider them black..they are mixed.  This one-drop rule has gotten out of control. I don’t have any hatred towards them. I have nothing against them. But it’s time to stop putting black beauty on the back burner. Black/African women have their own unique beauty that should be celebrated. I just don’t think it’s “fair” to give them most of the shine while black women are an afterthought. Lisa Bonet is a pretty woman.  But a black woman shouldn’t have to look like Lisa to get some credit for her beauty.

Are White people our psychological parents?

Diff'rent Strokes

I remember when I was younger there was the sitcom Different Strokes(1978-1986).  It starred Gary Coleman,Todd Bridges,Conrad Bain and Dana Plato.  Coleman and Bridges played two black brothers from Harlem. When their mother passed away they were adopted by white wealthy businessman Phillip Drummond. Even back then they were giving us the “white savior” propaganda. Hollywood is known for giving us this type of garbage.

webster

Different Strokes was a huge success in the eighties. So of course Hollywood tried to duplicate it again.  They created the show Webster(1983-1989).  The show starred child actor Emmanuel Lewis. The plot was about a little black boy who lost his parents in a car crash.  They even used the same plot as Different Strokes.  They couldn’t even be creative and come up with a different storyline.  Don’t be fooled by these shows.  They were not just sweet and innocent sitcoms.  They had an agenda. It’s obvious these sitcoms were geared towards black people.  They were designed to make us believe that whites are our saviors and we should look to them for guidance and acceptance. They want us to forget that they lynched us,raped us and enslaved us for hundreds of years and was never paid back even after we were “freed”. During slavery we lost our language,customs and cultural identity.  We were treated less then humans.  Dogs get more respect than black people. Which is why sitcoms like this are so dangerous.  It makes us believe the fallacy that our oppressors are our friends. Now we emulate Europeans in every way.  Television and films have a way of altering black consciousness. We speak English or Spanish,dress like them,wear the same clothes they do and eat the same food.  This puts European in a parental  position. And after years of social engineering they have become our psychological parents. When black men dress and talk like white men he is imitating a white man. If he thinks black women are ugly and worthless he is imitating a white man. If he beats up black women he’s imitating white men. When a black woman wears a blonde weave and blue contacts she’s imitating a white woman. When a black woman feels all black men are useless losers she has the mind of a white woman. It reminds me of a quote by the great Pan African/psychologist Amos Wilson once said.  Wilson said that every one has a biological father and psychological father.  Wilson also mentioned that even when black men get involved with crime he is imitating his criminal white father.

Amos Wilson summed it up best:

“As long as the “black man” is involved in “black-on-black violence and crime” (unwarranted internal conflict: “gang turf battles,” “civil wars” and otherwise), he, then, will not have time to engage in what must be his true mission: THE OVERTHROW OF EUROPEAN DOMINATION! As I’ve often said, our attention must be diverted . As I said, once in a psychology class, why do so many “black men” kill other “black men?” Is because they have not yet decided to kill white men. THAT IS THE ULTIMATE TRUTH! THAT IS THE ULTIMATE TRUTH! The cowardly black man has not yet decided to really deal with his true enemy! And, he displaces his frustration and his cowardice upon his own people. He attacks and uses his own, and he abuses his women and uses his children, and terrorizes his community (nation). He is great and bold to take out a gun (his army) to blow away another black man’s brain , but he has yet to take up the gun (use his army) and blow out the brain of his true enemy (stop alien exploitation, domination, encroachment, etc.).

He would march around the world and shoot some other man, but he won’t take up the arms against his true enemy. He can only, then, prove his “boldness” by an attack on his own, and by the destruction of his own. I do not see a common black criminal as a revolutionary. Because the common black criminal  have the same motivation as the white ruling and middle classes. The white ruling and middle classes got a BMW, he wants a BMW. So if it means selling poison to our children, he sells poison to our children. If it means terrorizing the African community (robbing the coffers of African nations) to get the BMW (white/alien men’s status symbols), he’s going to do it. In other words, he approaches his world thieving, killing, etc., the same way his psychological father approaches the world: thieving, killing, etc. Everywhere this white man has stepped in the world there have been thieving, killing, etc.

The black criminal  is but an imitator of his “psychological white father”. Therefore, we have “black-on-black crime and violence,” and “black-on-black crime and violence” is a necessity (assures politico-socioeconomic destabilization) for European power. It’s not the intention for whites to remove crime in the African community (end internal conflicts in African nations), it is their intentions to contain crime to the African community. You talk about the corruption of the police: it’s easy to corrupt a police man/woman when he/she is guarding a people that they do not care about (identify with). And when the corruption of those people he/she is guarding ultimately…MAINTAINS THE POWER POSITION!

European Antics: Episode 10(Period blood leggings)

Love the Blood...

Check out these leggings!   I think this is pretty gross! They are period stained leggings.  These leggings are meant to celebrate a woman’s menstrual cycle.  The leggings were being  advertised by the American apparel company Poprageous.  But you can rest easy.  Upon doing more research it was apparently an April Fools day prank by the company.  Well in my opinion,prank or not it’s still pretty disgusting.  And what type of demented mind what create such a thing.  If you assumed it was an European..you  would be correct.

European Antics: Episode 8( Beauty and the Beast)

The Beast...

The Disney film Beauty and the Beast is coming out soon.  There’s a lot of hype about this film.  I remember seeing the cartoon back in 1991.  I always got the feeling it was a film  covertly about bestiality.  Or at the very least a film about worshipping Satan(Beast).  But I thought I would give you my own version of Beauty and the Beast.  This video is by Whitney Wisconsin.  This white cave woman goes into sexual details about all the different breeds of dogs she has screwed.  This creature is a depraved savage!  She suffers from a serious mental illness.  Or maybe not.  Maybe she is completely sane.  Which means this is normal behavior in her mind.  And she has no shame talking about sex with animals.  Just more European antics.  Check out the video if you can stomach it.

Get Out- Interracial/Horror Film(Hidden truths)

get-out-poster

Jordan Peele’s directorial debut Get Out proves a fascinating engagement with the racial truths of the contemporary world. The film centers on interracial couple Chris and Rose who are traveling to meet Rose’s parents in a New York City Suburb.

Prior to their visit, Chris asks Rose if she told her parents that he is black. Rose makes a mockery of this query, a query that encompasses the film’s many acts of foreshadow and dramatic irony. Get Out proceeds to illustrate that it is Chris’ blackness that makes him Rose’s prey. The couple’s visit to meet Rose’s parents proves a sick and calculated effort to abduct black bodies and re-appropriate them as a means to enhance the lives of a white counterpart. In short, the film’s resonance lies not in the images themselves but what lies beneath.

1.White Liberal

One of the most demonstrative illustrations in the film is its portrayal of the “white liberal.” Rose, Chris’s girlfriend not only dates a black man but defends him in the face of overt discrimination. Chris is racially profiled by a police officer on the way to meet Rose’s parents. The policeman asks Chris for his identification, to which they receive Rose’s wrath. After the incident, she states that she won’t let anyone “F%ck with her man.” But little does Chris know, Rose is merely protecting Chris the object and not Chris the person. This objectification becomes clear in the silent auction that takes place in Rose’s parent’s garden. What they disguise as “Bingo” is an auction where interested white buyers place bids for the black body Rose brings home. So questions like “Is it better?” referencing black male sexual performance, is the query of a prospective buyer desiring a worthy investment.

Rose portrays a physical embodiment to the phrase “every shut eye ain’t sleep and every goodbye ain’t gone.” An assumed ally can very well bear oppressive feelings towards a marginalized body. Assumed allies often veil self-interest in seemingly supportive gestures. Namely, Rose does not verbalize her prejudices yet is not any different or better than her parents or their “garden party” guests.

2. The Poisonous Apple

Get Out depicts Chris, a black man,  as an Eve-like figure and Rose, a white woman, as the poisonous apple that exploits his vulnerabilities and renders a series of irreversible consequences. The film intertwines physical hypnosis to induce black acquiescence to a  new identity. Rose acts as a form of hypnosis in her pursuit and pseudo-love for the black male. In seeking to consummate white acceptance and assimilation in his romantic relations with white women,  the black male body enters a vulnerable state exploited by his “prize.” Thus, Rose uses her external appeal to sink her thorns deep into the black male psyche. Just as their love seems to bloom, it is not Rose who dies, but her black lover–illustrating the measure of a rose’s beauty is the ability to distract admirers from its thorns sinking into their flesh.

get-out3

3. Science and black experimentation

The Armitage family abducts blacks, hypnotizes them, and uses the black body to improve white quality of life. The procedure leaves a small portion of the black brain but replaces the majority with a white brain. Thus, the black person becomes “a passenger” in his own body. This procedure seems synonymous to the abduction of African bodies and displacing them onto indigenous soil. This displacement renders the black body a passenger in the western experience as each generation proves more distant relationship to their African origins. While the African brain may not be physically extracted, it becomes westernized so that descendants of abducted Africans feel more American than African–making the black body a commuter in their own oppression.

Interestingly, upon first meeting, Chris and Rose disclose that they hit a deer on their way up. In response, Rose’s father remarks that they “did a service” by hitting and ultimately killing the deer. It is this same ideology that prompts the white conservative to seek out black bodies to dismember for their own personal benefit. In their minds, the Armitage family does a service to blacks abducted for their procedure, as their procedure affords the black body a purpose believed to not exist outside of serving whites. Prior to preparing Chris for the procedure, Mr. Armitage asks him “What is your purpose, Chris?” To pose this question prior to their intended procedure suggests that their use of his body incites a purpose otherwise non-existent.

It is this same ideology that prompted white doctors and scientists to use black bodies to test out medical procedures. Henrietta Lacks’ doctor felt entitled to the contents of her vagina, so much so that he did not even consult her next of kin prior to abducting her cells. The pearl-like substances that killed her would acquire purpose in the lives Lacks would come to save following her death. Thus, just as the Armitage family deems the black body purposeful in servicing whites,  Henrietta Lacks’ story similarly illustrates the black body as purposeful solely when appropriated for western motives.

Slavery and the contemporary world implement a similar ideology as the most celebrated black figures: athletes, entertainers, and actresses all serve whites. Thus, the television, radio and even the education system all act as an informal hypnosis implemented as a means to control black bodies and place them on a dead end path to white servitude.

Film Review Get Out

4. The unassumed intellect

Get Out channels Charles Chestnut’s “The Goophered Grapevine” and “Dave’s Neckliss” in illustrating the unassumed intellect in Chris’ TSA friend, Rod Williams. For those unfamiliar with Chestnut or these stories, a prevalent style of Chestnut is to implement a character who due to their vernacular speech prompts most to assume that he is intellectually deficient. The unassumed intellect uses these preconceived notions to his advantage and deceives his “intelligent” counterparts by the story’s conclusion.

Similarly, Williams provides comedic relief to audiences in his delivery. Yet the dramatic irony evokes laughter from some and frustration from others as audiences know that Williams is the sole party in the film that knows the truth. This depiction functions positively, as it evokes a caricatured black image as a means to exploit presumed western conceptualizing of black intellect. In a perfect world, caricatured imaging of blacks would disappear completely. However, it is an act of advancement to include stereotypes in a way that prompts contemplation, or that performs in a way to challenge western predilection for the compartmentalized black body.

The Final Verdict

The most resounding part of the film for me is when the black male body reappropriated as the Artimage grandfather, snaps out of his hypnosis and not only shoots Rose but shoots himself. This depiction illustrates black detachment from a controlled identity as a necessary component to disabling mental enslavement. Furthermore,  blacks not only have to rid themselves from physical obstacles but the part of ourselves that encompasses these harmful ideologies.

My least favorite component of the film was the means in which the hypnotized black body reverts back to semi-consciousness. Although the black body is held hostage by a white brain, it a flash or white light that snaps them back into consciousness. Thus, although it is a black man who physically saves himself from his pending imprisonment–it is a stroke of white light that enables his escape.

Thus, while seemingly a cautionary tale to interracial dating, or to the black body trusting whites in any capacity–the film evokes a white savior in representation rather than form. At surface level, the film seems to evoke the separatist ideology implemented by civil rights leaders like the late Malcolm X. However, the authorship of said movie makes this close reading impossible to take seriously. For this reason, Get Out reminds me a lot of Birth of Nation.

After viewing both Birth of a Nation and Get Out, I left the theater somewhat content. These feelings faded almost instantaneously as I realized that these movies while depicting the complexities of the historical and contemporary black experience can only resonate but so deeply. Namely, both Peele and Parker write and produce movies that should be revolutionary, but are not.

Jordan Peele and Nate Parker both conclude their films in the same manner. Specifically,   Birth of a Nation and Get Out end with all central white characters are murdered by blacks. While fatalities at the hands of blacks substantiate black bestiality, it also functions to depict white bodies as factors that must be eliminated to free blacks from an oppressive state. Like Birth of a Nation, Get Out is authored and directed by a black male married to a white woman. This dynamic casts said black authors as significantly less harmful and least likely to actually eliminate the white demographic because to do so would be to not only murder their wives but the mother of their children. Furthermore, with their interracial unions, the black male writer and director assumes a non-threatening stance in which the murder of fictive white characters seems an artistic choice rather than a means to uplift the black collective.

While the western world attaches a taboo labeling to interracial unions, these unions function favorably to foment white supremacy. The strongest black leaders are strong not because of what they say but because of what they do. Thus, these films are noteworthy, not revolutionary, as it is not enough to implement images that suggest an ideology disconnected from the thought and action of the author.

Writer and producer Jordan Peele also complicates the ability to take Get Out seriously with his comedic background. Thus, his depiction of a white family who abducts blacks and uses their bodies for their own benefit—becomes a well-executed joke rather than reflective of a past and present horror not limited to a New York City suburb.

Article by C.C. Saunders