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Get Out (McKittrick, Blum, Hamm, Peele, & Peele, 2017) is Jordan Peele's wildly popular, racially themed horror/thriller film released last year. It opens with a young African-American man being abducted by a disguised figure as he walks through a generic, unidentified white suburb. This sets an ominous tone that lingers throughout the movie as it progresses through the story of an interracial couple, Chris and Rose, leaving the city to visit Rose's white family in a semi-rural, wealthy white enclave. The tension of the movie centers around Chris's apprehension about how he will be received by Rose's family. In the fashion of contemporary white liberalism gone awry, the family is warm and engaging toward Chris while making obvious racial faux pas and micro-aggressions (Sue, 2010). Though such experiences are clearly discomforting for Chris, Peele takes us through a deeper, more sinister turn evoking classic horror films, such as Invasion of the Body Snatchers and Frankenstein . Despite repeated warnings to “get out” from Chris's friend, Rod, a Transportation Security Administration (TSA) officer, Chris remains in the home as increasingly foreboding signs of trouble arise. Though the movie is more thriller than horror, the finale is horrific as Chris is confronted with the politely malevolent family's true intentions. In a “better late than never” effort, to “get out,” Chris contends with profoundly disturbing and evil adversaries.
Peele's initial depiction of underlying racial attitudes invokes the argument made in the book Blindspot: Hidden Biases of Good People (Banaji & Greenwald, 2013) and President Obama's comments