Once Aryan Skynet Goes Live It Doesn't Matter Who Pulled The Switch
“Jordan Peele, one half of the comedic duo on Comedy Central’s Key and Peele, is heading into horror via a project that promises to take on race relations,” announces The Hollywood Reporter:
Peele is teaming up with QC Entertainment and Blumhouse Productions on horror project Get Out, which Peele wrote and will direct.
The plot centers on a young African American man who visits his Caucasian girlfriend’s family estate.
“Like comedy, horror has an ability to provoke thought and further the conversation on real social issues in a very powerful way,” said Peele. “Get Out takes on the task of exploring race in America, something that hasn’t really been done within the genre since Night of the Living Dead 47 years ago. It’s long overdue.”
Forty-seven years overdue? Has my nigga not seen the terrifyingly gritty and straight-up redpilled Trimark Pictures classic Leprechaun in the Hood (2000)? Here, in this one movie, is everything anybody ever needed to know about race in America.
From the film’s opening moments, the viewer immediately senses the constant minute-to-minute stress of just trying to stay alive and keep from going under in the jungle of the ghetto. Rapper and TV actor Tracy Lauren Marrow (alias Ice-T) appears in Leprechaun in the Hood as Mack Daddy, a man so perpetually imperiled simply by virtue of being black that he is compelled to conceal a baseball bat in his afro for protection.
The institutionally racist education system done failed the brother and his drinking buddy, though, because apparently the latter thinks nothing of stealing a Leprechaun’s gold and removing the magic bling that kept it a prisoner since its last adventure in the franchise. “Free at last! Free at last!” the Leprechaun (Warwick Davis) snickers in mockery of the late, great Dr. Martin Luther King, Jr., giving the viewer to understand right then and there what a white supremacist motherfucker it be, so that one can only imagine the Leprechaun amassed its pot of gold off the sweat of black slaves it probably raped and put to work picking in the clover fields.
Fortunately, Mack Daddy manages to get the amulet back onto the racist Leprechaun in the nick of time, and years later, with the aid of the hateful creature’s gold and magic flute, he has become a successful pimp and music producer. Enter young aspiring rappers Postmaster P (A.T. Montgomery), Stray Bullet (Rashaan Nall), and Butch (Red Grant), who, hoping to change the hip-hop game with their positive message, lobby in vain for a spot on Mack Daddy’s record label.
The problem is that, the white power structure’s stereotyping and marginalization of black identity being so invincibly entrenched, Mack has been forced into socio-politically conditioned complicity with the honky establishment’s gangsta rap distortion of the African-American image in popular culture. Mack Daddy himself explains:
I ain’t wit that save-the-fuckin’-hood bullshit. Treat your girl right. That shit is weak, a’ight? This label, we rap about Uzis, blowin’ motherfuckers’ heads off, you know what I’m sayin’? Smack your bitch up. Shoot your motherfuckin’ homeboy in the face type shit. A’ight?
Dejected and penniless, the lads find themselves in the position familiar to any young brother just doing his utmost not to get lynched on the mean, slave-paved streets of any given American metropolis. “What we s’posed to do now? Rob somebody?” These are the options – rap or rob – with which white society mocks and marginalizes all young brothers of untapped potential. On top of their economic and political disenfranchisement, Postmaster P and his friends soon find themselves in the middle of some serious “meta-fuckin’-physical shit” when one of them accidentally wakens the white devil LepreKKKaun from its supremacist slumbers.
Long story short, Postmaster P and Butch are reduced to dressing up in drag to insinuate themselves into the Leprechaun’s inner circle, disguising themselves as candidates to join the monster’s Zombie Fly Girls. The theme of transvestism – reinforced in the character of Fontaine Rivera (Lobo Sebastian) – rather than being merely a frivolous vehicle for cheap laughs, expresses what black identitarian melanist theorists like Frances Cress Welsing have diagnosed as the deliberate emasculation of the African male. As the “Melanin Theory” entry in Asante and Mazama’s Encyclopedia of Black Studies explains:
The various forms in which attacks against African males are carried out are institutionally ingrained into society. The systematic marginalization of African is perpetuated in order to emasculate them. This emasculation process comes in the form of unemployment, imprisonment, political disenfranchisement, social marginalization, a depressed view of their African origins, and so on. [. . .] The issue of homosexuality among Africans is given great consideration as an indicator of the emasculation of the African male. According to the melanists, the European worldview encourages homosexuality, in contrast to the traditional African worldview in which homosexuality is taboo.
As Nicole James Scott bravely elaborates at Liberal America,
From the moment White men set foot on African shores, to the auctioning blocks in South Carolina and Rhode Island, up until this very moment, there has been an incessant war waged against Black male’s genitalia by the patriarchal dominated White society. It is a war that has taken many shapes and forms throughout history, a global war, thus systemic, its perpetrators are not always necessarily White males. Nevertheless, the root cause and motivation remains the same as does the end result – the castration of Black males.
Far be it from this reviewer to spoil Leprechaun in the Hood’s spellbinding shocker of an ending, but it is significant to note that the Leprechaun has once again escaped justice as the end credits be poppin’. White supremacy, this movie of rare vigilant social consciousness admonishes its audience, never perishes, but stalks the night – every night – with the glowing green eyes and rotting brown teeth of a zillion diminutive George Zimmermans hoping against karma to bust a shillelagh upside the next innocent Skittles rainbow rider’s nimbus-like hoodie.
Clearly, Peele’s forthcoming Get Out has little (but figuratively towering) green boots to fill if it is to rise to the high standards both for horror and sociological truth-telling set by the peerless Leprechaun in the Hood. Peele’s creepy race-relations opus is set to be produced in cooperation with QC Entertainment and Blumhouse, the bagel and butter of Jason Blum, the same man responsible for such other fearless exposures of white privilege as The Purge (2013) and its sequel, The Purge: Anarchy (2014), so may the Luck o’ the Jewish be with Peele in his blarney!