Zebra Zygotes

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Spoiler alert: the macabre plot of “Get Out” involves some weird science that’s meant to create black bodies without blackness, black minds devoid of black consciousness. […] What the Armitages are creating is inwardly whitened black people—black people cut off from their history and their self-consciousness and, therefore, deprived of the power to rebel and to free themselves.

Peele’s furious, comically precise lampooning targets two intersecting strains of racism. The Armitages’ friends see Chris’s blackness; they don’t see Chris, but they at least perceive that blackness as a fact, a phenomenon, albeit one that they have no idea how to deal with. The impeccably liberal Armitages, by contrast, are color-blind; in their cosmopolitan embrace, they affirm, with the best of intentions, that there’s no difference between blacks and whites, thus, in effect, denying that blackness—the distinctive black experience—is real. 

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"I want to believe in ghosts. I love ghost stories. We were shooting Keanu in New Orleans, and the whole cast went on this ghost tour, led by this sexy, swarthy guy. Like, “If these streets could talk, they’d tell some pretty scary stories. But you probably don’t want to hear about that…” I was looking over at Method Man like, “Oh, my God, I brought a member of the Wu-Tang Clan to this fucking ghost tour. He’s going to hate it.” At the end of the tour, Method Man raises his hand. I was like, “Oh, here it comes.” He goes, “Sometimes I wake up and I feel something sitting on my chest. What is it?” And I’m thinking, It’s blunts, it’s blunts, stop smoking blunts. But the tour guide is like, [nodding] “That’s going to be a night hag."