It “perfectly captures the terrifying truth about white women,” according to the title of an essay in Cosmopolitan by Kendra James, who<br />wrote, “American history is littered with the bodies of black men jailed, beaten and killed due to the simple words of white women.”<br />An article in The Atlantic theorized that the crucial role of photography in the movie may evoke “how important camera phones<br />and video recordings have been for many African-Americans experiencing police violence.”<br />An article in Vox pondered the “benevolent racism” of “Get Out,” while one in The Muse observed:<br />“The real horror, exemplified many times over, is the weapon of white privilege and pretense.”<br />A BuzzFeed list of “22 secrets” hidden in the movie even noted that Froot Loops cereal in one scene could be symbolic of miscegenation.<br />The ingeniously plotted details of “Get Out” — not just what’s in the movie, but what’s left out — gather and distill complaints<br />that black activists, writers and intellectuals have brought to the fore over recent years: the objectification and violation of black bodies; white people’s appropriation of black culture; the trope of the white savior.<br />He said that “Get Out” meant so much to him because it “shows the dangers of racism from white liberals”<br />and because white audiences were embracing it even though “it rejected the oldest horror movie formula of the black person dying first.”<br />That white audience is a notably young one: Exit polls revealed<br />that nearly half of all the people who saw “Get Out” when it opened on the last weekend in February were under the age of 25.<br />Peele, who is half the TV comedy sketch duo “Key & Peele,” has set a precedent with “Get Out,”<br />becoming the first black writer-director whose debut movie hit that $100 million mark.
