Get Out is directed and written by Jordan Peele, an African American of mixed white and black parentage. Though a darling of the Jewish establishment, there is no clear evidence that Peele has biological Jewish heritage. This film is of interest to us because it is an important instance of JEM appearing, ostensibly, from a non-Jewish artist with no obvious Jewish identity.
Peele is now married to the Jewish Comedian Chelsea Peretti and has worked in the deeply Jewish milieu of sketch comedy television for the entirety of his professional career. In other words, creative influences that would not appear in the credits of his film are very possible if not exceedingly likely. To the extent a mulatto may be Judaized, certainly Peele is, as this study will reveal.
For what it’s worth, the film itself features at least one Jewish producer, Jason Blum, a protégé of the Weinstein Brothers who are strongly, ethnically identified. Harvey Weinstein, for his part, is famous for masturbating into a Ficus plants, a symbol in the JEM of the Aryan vagina from ancient times. Obviously Harvey Weinstein is himself acquainted with JEM, to one degree or another.
Theoretically the symbols appearing in Get Out, to the extent they resemble the coherent deployment of JEM, are mere coincidences, even “Jungian” coincidences. Likewise, the film, depicting a strikingly beautiful Aryan woman serially seducing black men is, of course, a type of explicit racial demoralization on its face. The latter is readily explained as simply the manifestation of a widespread anti-White animus present throughout a Jewish dominated media plied by a vindictive black filmmaker and pro-multicultural producers.
However the use of symbols here is too careful and closely consistent to broader trends in JEM to be dismissed as accidental. Rather certainly the film contains coherently rendered JEM and JED as this study will reveal. Indeed, Get Out is an astonishing study where we find a black director writer deploying JEM. This gets to an important lesson discussed in my broader study.
JEM need not appear from an openly Jewish source. Rather its power is only made more effective when submitted in an “ethnically anonymous” manner. Since works containing JEM are not always submitted openly by Jews, particularly in former periods and doubtlessly in coming periods, we are left with no choice but to learn Interpretatio Romana. Through our ability to decipher JEM, Jews lose the power to deploy JEM anonymously or through, for example, instructed second or third parties. Rather, as it is said, they are “known by their fruits.”
The plot of Get Out runs as follows. The African American, Chris Washington, and his Aryan girlfriend, Rose, take a trip to meet Rose’s parents, the Armitages, in a White suburb. The introduction is uncomfortable as the father, Dean Armitage, seeks awkwardly to ingratiate himself with Chris through the typical White-liberal self-abasements. Things become more uncomfortable when Chris encounters robotically behaving blacks serving as hired hands for the Armitages.
Eventually the plot is revealed. The Armitages are using their daughter to sexually seduce black men and women in order to steal the bodies of the blacks so as to insert the brains of aging Whites. The person who developed the technique, the mastermind of the plot, is named Roman Armitage.
That the theme of the film is the admixing of Whites and blacks is obvious by its very premise. However, the more specific metaphor here, with White minds being inserted into black bodies, is the induction of blacks into a White Christendom, ultimately as a means of admixing with Whites. But what are the clues for this?
The Armitages as a reference to an inducting and admixing Christianity
Straight away readers know that the name Rose is a reference to the admixing Aryan Venus Pandemos and/or Biblical Mary. Here again we find a reference to the symbol of the rose, formed from the “tears” of the Aryan Venus and the blood of Adonis. Again, the rose is a symbol common to both the Adonis cult and its offspring, Christianity, where it carries the identical meaning. To wit, in Christianity, it becomes a symbol of Mary’s forlorn love for Christ.
The name of the founder of the cult appearing in Get Out, Roman, carries the same meaning it carried in Rosemary’s Baby with the Arch-Warlock Roman Casevets. To wit, it is a reference to the Roman Catholic Church. Rose’s father’s name Dean verifies this. Indeed, the first definition of word dean is “head of a church.”
The last name of the family, though, is also suggestive. Armitage means “hermitage.” The older sense of the word hermitage may suggest a small monastery. The English word Hermit, which often carries this association, began with this association in the early 12th century. There it meant “religious recluse, one who dwells apart in a solitary place for religious meditation.” However this reference to a hermitage or hermits may be an even more specific reference in this film as we will discover.
Chris’ name itself, deriving either from Christian or Christopher, seems at first blush a reference to Christ. This makes sense as he is paired with Rose, a clear Mary figure. Further this allusion appears to be made patently clear in the film when Roses’ mother drives a nail through Chris’ hand during one of the final scenes. Hence, again, we see here Crucifixion, blood-spilling or blood-sharing used to symbolize phallic penetration and racial intermixture as my broader study explicates.
This theme is repeated in an earlier scene when Chris impales the father Dean Armitage with the taxidermy of an antlered deer head. Here Chris is the “buck,” a term often used to refer especially to African American men, destroying the genetic continuance of the White father, literally killing him. Certainly the antlers of the buck here are intended as a phallic symbol roughly akin to the patently phallic “Spear of Longinus” used to impale Christ.
But, of course, the entire project of seeking to blend the “White mind” with the “black body” is an act of White suicide and this is esoterically acknowledged in Peele’s parable. To wit, ultimately it leads to the death and destruction of the entire Armitage family who are all killed in the denouement of the film.
In Get Out, as with Rosemary’s Baby, the Church is understood as the means of sexual access to Aryans, as well as the means to their destruction. In fact, the house of the Armitages will catch fire in the final conflict that wipes them out. Amid other clues that clearly render this film a work of JEM, we can be certain this fire is a reference to the consuming Jewish Fire God explicated in the broader study.
That the Armitages are a reference to the Aryan race writ large is corroborated with a brief glimpse at a stuffed lion in Rose’s bedroom. The detail, though briefly rendered, is meaningful, as Peele reveals in his director’s commentary on the film. There he explains he imagined that Whites represented “lions,” while blacks another species like “tigers.” The lion is a symbol of the Aryan in JEM as this broader study explicates. For instance, we understand the Hebrew word Ari, ארי, to mean “lion” as well as “Aryan.” Perhaps it is meaningful to Peele that the tiger is a totem of the Jewish God Bacchus.
Of course, what is not entirely consistent with the JEM, however, is that Chris, a black, is being indicating here as Christ. After all, Christ, again, is a synonym for Jewry in general. The reader might imagine a simple explanation. The black director is indicating Christ a black man or blacks the real Jews! On the other hand, the black Jordan Peele may identify as a Jew thus making the symbolism work in his mind.
Hence Chris Washington may function in the parable as a symbol of Jewry despite being a black. As discussed, the notion of “black” does appear in JEM as a reference to Jewishness, yet there the connotation is swarthiness or darkness vis-à-vis a fairer Aryan race. Indeed, given the evidently conscious way in which Peele is deploying JEM it seem unlikely he is indicating Christ, incorrectly, a black man.
The answer may lie with a closer inspection of the name Chris. First, the possibility that Chris is a shortening of the less common name Christian would not typically indicate him a Jewish figure in skillfully rendered JEM. After all, here Christian is patronymic in the sense it refers not to Christ himself but rather to a son or follower of Christ. In JEM, typically this wouldn’t indicate a Jew but rather, very simply, a Christian in the common understanding of that term.
Chris Washington as Saint Christopher
The name Christopher, from which the shortened form Chris most commonly derives, is also not a direct reference to Christ. Almost certainly the Chris used here is intended as a shortening of Christopher. Here we remember the crucifixion imagery in the film does not necessarily confirm Chris as a Christ figure. Rather, like the impalement of the Aryan father Dean, it function as a reference to “blood intermixture” or racial intermixture. This is particularly true in light of the actual derivation of the name Christopher.
Christopher comes from the late Greek name Christophoros meaning “bearing Christ.” It is a reference to Saint Christopher who is a legendary 3rd century martyr. Allegedly, he was a monstrous man, over seven feet tall, and with a fearsome face. He was originally named Reprobus which means “rejected” or “base.” He was also a Canaanite, hence ultimately a descendent of Ham. Ham, famously, is known for his sexual humiliation and emasculation of the figure Noah, whom he viewed naked. Canaanites are indicated in the Hebrew Bible as admixed with some “fallen” leading Aryan element as this study explicates.
Saint Christopher or Saint “Christ bearer” himself was named for a legend. In the tale, he asks a hermit how he may serve Christ. Possibly, if not likely, the name surname Armitage in Get Out is a reference to this hermit. The hermit tells Saint Christopher that he must fast and pray. The towering man replies that he cannot do these things, suggesting an innate insatiability and/or a limited mental capacity. Thus the hermit tells Saint Christopher he may serve Christ by ferrying people across a raging river on his back.
Here the river maybe understood as carrying the same meaning as the Biblical flood or the Red Sea. It represents the spilt or accessible Aryan blood during periods of decadence. The Canaanite or non-white is in a manner impervious to this intermixture as he is already impure, admixed or non-White. Hence he may wade in this decadence essentially unaltered. One day Saint Christopher ferries the Christ child himself across the river. The child inexplicably grows heavier with every step nearly drowning the saint.
Nevertheless, Saint Christopher succeeds in bringing the Christ Child to the other side. Here, of course, we understand, again, that Christ represents Jewry writ large. His increasing heaviness in this parable may even be a reference to the New Testament called in Hebrew, Even Habesor אֶבֶן הַבְּשׂוֹר, and meaning a “stone/weight message.” Here a death-obsessing, Jew worshiping, humbling, demoralizing or depressing effect of the JEM inherent to the New Testament seems emphasized. Corroborative of this would be the understanding that Habesor, meaning “the message,” is also the name of a stream in Palestine appearing in the Hebrew Bible.
Chris’ surname Washington, though of uncertain origin, may also suggest that Chris is, indeed, a reference to the “Christ bearer.” To wit, a popular folk etymology surmises the name Washington was derived in part from the word “washing” and designates proximity to a river. Likewise, the noun “wash” may mean “a small stream or shallow pool” or “a shallow arm of the sea or a shallow part of a river.”
Though possibly, more simply, the name is a play on words with “washing” conjoined with “ton.” “Washing” may mean “carrying on water” and “ton” a “heavy weight.” Hence the name may be simply a corroborative referencing to the parable of Saint Christopher. Otherwise “washing” maybe a baptismal reference as the noun “washing” may also refer to a ritual cleansing. Here, in the JEM, baptism is yet another metaphor for intermixing with Aryans as this broader study explicates.
It is striking to consider that Chris in Get Out is a reference to Christopher as his name seems to suggest. Here perhaps a half-Jewish or Judaized black filmmaker, is in a manner, consciously functioning as an “Apostle” toward “Ham“ or the black community. The role of Canaanite Saint Christopher is ultimately to carry the Jew across the river, to mindlessly serve.
The Canaanite is known specifically in Genesis as the servant to both Japheth and Shem, where Japheth living in the tents of Shem is indicated, in turn, as lower status or servile to Shem. In the context of Get Out, the “Canaanite’s” service is indicated as “wading in the river,” admixing with Aryan daughters, as is made clear by numerous symbols in the film both exoteric and explicit.
Psychological impact of the film Get Out
Get Out, despite showing “scary Whites” does not, of course, dissuade blacks from a desire to intermix with Whites, which is an invincible natural genetic instinct. Even the black filmmaker himself proves this through his choice of mate as did his father before him. Though certainly the film does reinforce a natural contempt or vindictiveness blacks have for Whites. Likewise it moralizes them, at least in the service of a Jewish mission, suggesting to them that Whites are not merely sexually desirous of them but envious of them.
Indeed, even if the Aryan Rose is ultimately revealed as cold and calculating “murderer” so as to satisfy the tropes of the genre, in the end, her obsessive desire is to introduce black genetics into her family’s racial gene pool. She’s, indeed, “crazy about black guys,” whereas the black guy, improbably, is, by the end of the film, trying to get away. The PUA aspect of Judaism or “black nationalism,” which feigns disinterest or ambivalence and pretends Jews or blacks don’t desire admixture with Aryans, is repeated here in Get Out.
In truth, though, the audience of the film is especially White people who alone are mutable. It, of course, functions at JED toward Whites. It shows them as envious, covetous, immoral, pathetic and disgusting. Their daughters should be so lucky as to find a black man. But, in any case, not only do they deserve extinction, they want it, they lust for it, they want their bodies to be black!
Get Out depicts the desire to admix coming from Aryans rather than its obvious origin, non-Whites. Here a kind of hypnotism is attempted: “repeat after me. You want to admix with non-Whites.” Here we see the striped branches that Jacob sets before Laban’s white flock so as to encourage them to breed darker.
The film, once more, as well, mockingly indicates Christianity and its Aryan practitioners as psychotic, as an open door into the Aryan race. It conveys usefully as well the understanding that multiculturalism and Christianity are in fact synonyms.
The name of the film and Milk and Honey as metaphors in the film
The name of the film is interesting. Possibly it’s a reference to the Jewish esotericist metaphor of rotted milk. For instance, the Hebrew word Kam, קוֹם, means “Sour Milk” and “Get up.”
Milk certainly appears as a very deliberate symbol toward the end of the film. There, very deliberately, Rose is depicted surfing the internet for her next black “buck.” At her side, is a bowl of multicolored fruit loops, likely a reference to multiculturalism, and a glass of milk with a black straw piercing it. Clearly the black straw is a phallic symbol. Milk, as this broader study reveals, is a reference to Aryans as resource. Here, again, we find the Biblical metaphor of Milk and Honey.
We find confirmation for this with Rose’s mother, Missy, who, as a hypnotist, seeks to induct Chris into the Armitage cult. Typically the diminutive Missy derives from the name Melissa. Melissa is traced to the Greek word “bee.” The Greek word Melissa is in turn derived from Meli meaning “honey.” The metaphor of “honey,” particular appearing in name meanings as a female Aryan identifier, reoccurs in JEM as this study reveals.
Chris’ interaction with Missy, where through hypnotism she sends Chris to the “sunken place,” an abstract psychological extra-body dimension, is especially sexual in nature. The “sunken place” we should understand as a clearly vaginal metaphor. As well, though, it is, of course, a reference to the Psyche. More specifically it is a reference to the Aryan Goddess Psyche as sexual resource, precisely as she appears vis-à-vis the Semitic Eros or Cupid in mythology.
Possibly the title of the film, Get Out, is communicating to Jewish audiences: “The Aryan women have grown degenerate and are now mixing with Negroes. They are valueless stock to us now. The milk is sour. Perhaps as well there will be a reaction from Aryan men. It is time to ‘Get Out.’” Remarkably, Jordan Peele, like a good Saint Chrisopher, is ferrying the Jews and their message to safety across the river.
A discussion of the film below with M.Brahmin, Jeff of White Art Collective and Josh Neal:
 Genesis 9:27