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Brett's Get Out Notes
🕑 Added 2023-06-21 02:05:06 +0000 UTCGet Out (2017)
Background
There are over a dozen people with various production credits and various levels of susness. Many have worked together previously, in the Purge movies, for example. Jason Blum, of course, is ultra-sus, and Couper Samuelson is no stranger to psyopy productions. Executive producer Jeanette Volturno has produced a bucket of sus.
One specific highlight is worth mentioning. Edward H. Hamm, Jr., one of four people with a “producer” credit, is an executive producer on Antebellum, another Monarch movie (there is a butterfly covering a woman’s mouth on the cover) using black identity themes as a cipher for mind control themes.
The Red Alchemist Society: A Secret Society of Superelite Gnostics
Peele explains in the commentary that the family and the people who attend the garden party are members of “The Red Alchemist Society,” which traces its lineage to the Knights Templar. August Armitage, the grandfather, refers to it as an “Order.” This is why the brother, Jeremy, wears a Templar helmet in the prologue when he attacks the innocent black guy wandering through the neighborhood. (Note that, in one of Chris’s photos displayed in his apartment—the first one seen in the apartment, I believe—there’s a kid holding up such a mask in front of his face.)
As Peele goes on to explain, they have been seeking the Holy Grail, i.e., the secret of immortality, since the days of the Templars. “Over hundreds of years,” says Peele, “they have worked to figure out through science a way to achieve the power of the Holy Grail.” Not until August Armitage, however, did they actually discover it, merging science and occultism to develop the technique for achieving immortality through a brain transplant.
The brain transplant, however, is only the third and final “phase” of the overall process; the first two phases involve mind control techniques (see below).
The final phase, as revealed in the TV mind control video, is called “the coagula,” referring to the “coagulate” stage of the dissolve-and-coagulateprocess which is the basis of alchemy and, as we’ve explained ad nauseum, of the elite occultic worldview in general.
The weird bingo auction is what the garden party is all about, Peele explains. The Red Alchemist Society is obsessed with artifacts, and they trade them among themselves.
Dean, the father, sums up their worldview in a speech near the climax: “Even the sun will die someday. But we are divine. We are the gods trapped in cocoons.” So we have a multi-generational, superelite gnostic cult that uses mind control and psychosurgery in order to achieve bodily immortality, “the Holy Grail.”
These cocoons, of course, are the bodies they appropriate for the purpose of “uploading” their consciousness. The idea of the body as a mere “cocoon” is of course thoroughly gnostic and comes to us via a Gnosticized reading of Plato’s soma-sema(body as a tomb) concept. Here we have the classic Gnostic ontic disdain for matter in its anti-transcendent postmodern key—in other words, the gnostic-transhumanist religion of the superclass.
The importance of the Templar connection is that the Templars were accused of being crypto-gnostics, antinomians with a disdain for matter.
There’s a poster on Rose’s wall with the words “Death Cheetah vs. Matter.” It appears to be a promotional poster for a band called Death Cheetah (from the Bay Area), one called Matter, and another band called Clint 4, playing on Jan. 2 at a pub called “the Local 616” in Charleston, SC. Clint4 is a band, and there is a band called Death Cheetah. I don’t know why there is a “vs.” before “Matter,” but it fits in with the gnostic undertones of the film. “Death Cheetah” seems to be a pun: “Death Cheetah”=death cheater.
The stuffed lion next to Rose’s bed, which Peele deliberately emphasizes, is a “symbol of Christ,” which he is connecting to the Templars.[1]The lion is also a symbol of the Demiurge in ancient Gnosticism (a lion-headed serpent, actually), which may relate to the modern, anti-transcendental gnosticism implicated: the superclass, anti-transcendental gnostics want to be the Demiurge; they want to control matter, not to transcend matter.
The surname “Armitage” makes me think of deep state heavy Richard Armitage.
Woke Misdirection
One of the common denominators shared by Get Out and The Stepford Wives (an openly acknowledged inspiration for this film) is conspiracy misdirection using mind control themes: in Stepford Wives, the use of superelite, high-tech mind control techniques, which were being deployed at a low-intensity level even through films like Stepford Wives in order to tear down traditional values, are falsely attributed to the forces of traditionalism; and Get Out similarly redirects these themes to serve an elite agenda, this time around identity issues and a perceived problem of racism. Peele says, in the featurette: “Racism itself is a demon. It’s an American monster.” He follows suit with regard to the mind control themes, reductively interpreting them as symbols for race politics. For example, Chris’s hypnotically induced paralysis, he says, represents the fear and paralysis around the race conversation in America.
The opening song by Childish Gambino contains the phrase “stay woke” and Peele freely uses the word “woke” as a positive value.
Note that, in a deleted scene, the goofy TSA friend says of Rose, whom Chris has just killed, “You think she voted for Trump? Yeah, she must have.” Obviously it’s not the Trumpians who are the proper analogue of the Eastern-Atlanticist establishment, something the film has already given away with the Obama jokes.
Mind Control
Get Out, however, is surprisingly less an exercise in misdirection than Stepford Wives, which also uses sci-fi themes and conformism as ciphers for hypnotic mind control. The dénouement clearly reveals (Stephen Root speech, quoted below) that the race angle is largely incidental, a fashion of the times, just like the identity politics craze. The gnostic mind control cult is quite beyond the identity obsessions they peddle.
The Stephen Root character—the blind art dealer who is slated to inhabit Chris’s body—explains this very clearly in the following lines:
But please don’t lump me in with that. I could give a shit what color you are. No. What I want is deeper. I want your eye, man. I want those things you see through.
Here again, we have sci-fi themes as a cipher for Monarch stuff. Here, Root is clearly evoking both the Illuminati initiation rituals of the entertainment industry as well as their macro-scale analogue, namely, mass mind control, the use of media to psychologically assault and then take power over the perception, the very soul, of the viewers.
This film is also arguably more of a limited hangout concerning the actual process of hypnotic mind control. There is a scene early in Stepford Wives, when the husbands come for a visit and the “Disney” guy sketches Katherine Ross, that subtly alludes to stage 1 of the process, where the subject is unwittingly hypnotized for the first time, with partial loss of memory. This scene bears direct comparison with Chris’s first hypnosis by Missy. And Chris is later told by Stephen Root via TV that there are three “phases” in the process: hypnosis, the Clockwork Orange-like forced TV programming, and the “transplantation.”
Interestingly, Peele says that instead of the TV programming, he originally envisioned a scene in which Chris is forced to repeatedly listen to the James Taylor song, “You’ve Got a Friend.” In either case—the TV or the music programming—there’s a limited hangout about the manner in which micro, individual mind control is scaled up into macro, media-based mass mind control, which amounts to a Revelation of the Method insofar as the film itself is part of the latter agenda.
Hypnosis as a cure for smoking and other common bad habits has, in real life, been frequently used to lure people into submitting to mind control. For example, May Pang, Yoko Ono’s assistant and one-time squeeze of John Lennon (when he and Yoko were broken up), says that Yoko often hypnotized Lennon, usually as a pretext that she could cure his smoking.
One of the techniques involved in the hypnosis, one alluded to quite a bit in Springmeier, is retraumatization (or pseudo-abreaction). Missy is trying to retraumatize Chris during the hypnosis session, to reaccess the paralyzed, helpless feelings he experienced in relation to his mother’s death. Humphrey Osmond seems to have used some version of this technique with alcoholics in his LSD experiments, when he deliberately shamed and humiliated them for their pasts while on the drug. He said he was helping them hit rock bottom faster, before they damaged their livers anymore. In other words, he was using their trauma to accelerate the trauma-induced destruction of their psyche in order to force a “reset.”
The role of flashing lights in hypnotism is clearly referenced in this film: the white-washed black guy with the older wife glitches out when a light flashes at him, and Chris then uses this to turn off the programming of the black guy who works at the house (and who is housing the consciousness of grandpa). Cf. Looker, a bigtime hangout film about mind control and the entertainment industry, where a light-flashing device is used by the programmers to induce a paralytic, time-distorting trance-state.
Symbols of Mind Control
Cover poster features the standard “shattered glass” image, a reference to the psychological fragmentation at the foundation of trauma-based mind control. In one of the glass fragments is a one-eye shot of the lead. Peele adds, in the commentary, “Mirrors and glass are a big motif in this movie.”
Note that the name “Rose” is itself a Monarch trope, associated with human trafficking. It may also be a reference to the Rosicrucians, modern versions of which invent esoteric lineages back the Knights Templar.
One of the posters on Rose’s wall depicts a red bird with an arrow through it. The bird is a symbol of the soul, and hence the pierced bird represents the death of the soul.
Note the psychedelic mushroom poster on Rose’s wall, with the obvious connection between psychedelics and mind control (a la MKUltra).
Odds and Ends
There are, of course, several references, direct and indirect, to Eyes Wide Shut. The goofy friends says he suspects “some Eyes White Shut situation” going on with the Armitages, repeatedly mentioning sex slavery. The garden party, with members of the superclass pulling up in black SUVs and with the ulterior purpose of the “after party,” is all playing off Eyes Wide Shut.
The brother’s “jujitsu” speech about staying “four moves ahead” is of course a subtle hint to Chris that they are up to something that he does not have enough information yet to anticipate. This is a kind of Revelation of the Method, insofar as the filmmakers—and the cultural programmers more broadly—are also pulling a “jujitsu” move with the audience.
There’s an “Elizabeth Boller” poster on Rose’s bedroom wall. Boller is credited as the “art department coordinator” for the movie.
There’s a poster that says “Chris Craine Disco is Death.” In a few somewhat blurry shots, while grandma/the maid is speaking, it seems to say, “Chris is dead.”
The deer antlers all over the house give off a neopagan, Satanic vibe. All Peele offers about this is that “Deer is a symbol used by the Red Alchemist Society.”
Peele said he wanted the score to sound like “a Satanic Negro spiritual.”
Peele says that the goofy friend’s Jeffrey Dahmer speech was improvised.
[1]Peele first says that the lion is a reference to “the predator,” and that he had a clumsy notion of white people as lions and black people as tigers.
