The Cult of Black and white Cinematic Symbolism (Part 23)...The Exorcist, The two "Williams", Jordan Peele, the true agenda of horror films and the story of "US"...

“It (the ‘US” movie) is instead about something that I feel has become an undeniable truth. And that is the simple fact that we are our own worst enemies.”

—Jordan Peele

To the (consistent) readers of this blog: First off, let me just say that I planned to publish this post the week before last, so trust, I understand how dated this editorial’s subject, Jordan Peele’s “US” movie, must seem—however, being that I choose to name this forum, “The Cinematic Symbolism Blog”, I felt duty-bound to make sure my analysis of this particular flick got featured here. Moreover, this movie’s so overrun with symbolism, that I think I’d be doing y’all a disservice by not speaking on this movie that is again, rife with sublime images meant to socially engineer the masses of “US”. Now, being that there’s so many aspects of this film to uncover and decode, this post is gonna’ run a little long, but as always, I’m writing wit’ y’all in mind, so I’ll do everything in my power to make sure you enjoy a comfortably fluid read.

Second, as of late, I’ve been accused of obsessing over white fascism to the point of giving it more power by focusing my attention, and the attention(s) of the readers here, on its many faces. Now, in my mind, nothing could be further from the truth, especially lately, being that (for the last few months at least), I’ve made it a point to remind readers what a glorious time we’re in, where we not only see whitey’s fascist infrastructure collapsing, but we’re also seeing how these events are foreshadowing a complete end to their ethnicity.

Moreover, I’ve also been reinforcing the fact that white fascists are now fully aware that whatever under-handed initiatives they perpetrate against us, will ultimately affect them too (especially in terms of egregious acts like poisoning Flint, Michigan’s water supply, draconian drug laws and their unusually long sentences, manufacturing and distributing lethal biological weapons called “viruses”, etc.). So, in my opinion, any Black man or woman venturing here should never leave this space feeling deflated and defeated—cause this info. is terraformed to elate and edify someone who looks like me and happens to traipse down this virtual path.

And if this forum’s info. isn’t doing that fam, I IMPLORE YOU to let me know.

So, without further delay, let’s delve into Jordan Peele’s white fascist diatribes, and dig out reasons why he’s the newest poster-boy for bojanlin’, buck-dancin’ boule devotees tasked with keeping “US” in a defeatist state of mind.

—MontUHURU Mimia

William Peter Blatty was born in Manhattan, New York City on January 7^th, 1928, and he was the fifth and youngest child of Lebanese parents, Mary and Peter Blatty Sr. Unfortunately, Will’s parents separated when he was a toddler, and thereafter, he recounts his life as being one of “comfortable destitution”. Meaning, Will and his mother lived in 28 different locations due to difficulties getting their rent paid.

In his formative years, Will attended Brooklyn Preparatory, a Jesuit high school, on a scholarship and graduated as the class valedictorian in 1972. Later he attended Georgetown University on another scholarship, and earned a bachelor’s degree in English in 1950. In 2015, Blatty confessed that his studying at Georgetown was one of the best times of his life, being that it felt like he had a stable home for once. And Will eventually earned his master’s degree in English literature from George Washington University in 1954. Thereafter, he enlisted in the U.S. Air Force.

Now, question: why would someone with a master’s degree, be inclined to join the armed forces? Especially when a master’s degree held far more weight then, than it does now—that’s a point I’ll expound on later in this post.

After Will’s stint in the “Air Force”, he became the public relations director at Loyola University of Los Angeles in the 1950’s, before becoming a publicity director for the University of Southern California—and it was shortly after this, in 1960, that he published his first book, “Which Way to Mecca, Jack?” Now, this tome proved to be a more farcical look at his early life—and thereafter, he became a contestant on the Groucho Marx quiz show, “You Bet Your Life”—where he won $10,000. And with that windfall (10 grand was like a quarter of a million dollars in those days), Will committed all his time to writing and hasn’t held a “regular” job since.

Will continued putting out other comedic novels, before he wrote his book, “The Exorcist”, in 1971. This was the story of a 12-year-old-girl that was possessed by demonic forces—and it topped the New York Times Bestseller list for 17 weeks, and remained there for 57 more. Eventually, the book sold 13 million copies in america, and was translated into over a dozen languages. Shortly after, Will adapted his novel to a screenplay that got picked up by a major movie studio—and when this flick became a hit, Will went on to win an academy award for his script—and it was the first “horror” film to be nominated for the best picture Oscar.

Now, another question: don’t ya’ think it’s kinda’ odd that this “comedic” writer suddenly switched genres and wrote a horror novel? On top of that, the fact that after he does, the book and script become famously successful? This is one mo’ point I’ll address later on too.

William Friedkin was born on August 29^th, 1935, to parents Rachel and Louis Friedkin. Will attended public schools in Chicago, and while in Senn High School, he played basketball well enough to think about turning professional. That was until he happened to see the movie, “Citizen Kane”—this was the film that made him want to become a movie director. After graduating high school, Will began working in the mailroom at WGN-TV, and within 2 years (at the age of 18), he began directing live TV shows and documentaries—behind the accolades he garnered with these productions, Will got a shot at working with a major film producer. In the late 60’s, Will became somewhat of an “art house” movie director, producing a variety of flicks titled: “Good Times”, “The Boys in the Band”, and “Birthday Party”—but what Will really wanted to do is dedicate his efforts to more commercial films, thus, he went on to direct more dramatic flicks like “Vietnam”, “The Sexual Revolution”, and “Watergate”.

Eventually, Will hit pay-dirt with his film, “The French Connection” (1971). This film was based on the real-life story of New York City detectives Jimmy “Popeye” Doyle and Buddy “Cloudy” Russo chasing a wealthy French criminal, Alan Charnier, who in real life was a man named Jean Jehan (and I’ll leave a link for the post I wrote on him at the end of this one). Mind you, Alan (Jean Jehan) really ran the largest heroin smuggling syndicate in the world—from France. And not only did this movie go on to win massive amounts of critical acclaim, but it put Will on the map as being one of the premiere Hollywood directors of his time—topping that off, was the movie’s winning five academy awards, including Best Picture and Best Director.

After that, Will followed up his hit by directing, “The Exorcist”, in 1973

Okay, let’s stop here.

Now, seemingly, the 2 “Wills” don’t have much in common, except for their collaboration on the massively successful film “The Exorcist”—but with a little digging, I found out what makes their histories a bit more similar—and that’s the fact that both of them work for the CIA.

Mind you, not only are the 2 “Wills” in the CIA, but what’s well documented is the fact that Will Blatty, after graduating from Georgetown U. in 1950, worked for the CIA in Lebanon (remember his parents were Lebanese), and years after that, he returned to Washington, D.C. to become the Policy Branch Chief of the “Psychological Warfare Department” of the U.S. Air Force.

Check that out, y’all.

So, what I’m tryna’ say is, the movie “The Exorcist” was not only a hit-of-a-horror flick, but it’s being shown in theaters to the public was a government-sanctioned experiment on the proletariat-at-large, to destabilize the collective psyches of the american working class.

And in more layman’s terms: IT WAS A MASSIVE PSY-OP Y’ALL!

Now, this begs one more question: why would the gov’t bother doing this?

And once again, at the risk of sounding like a broken record, I’ll say remember the freemasonic term, “Ordo Ab Chao” (meaning “order out of chaos”) is the mantra and mission statement of the elites—meaning, they feel that in order to better control any organism or organization, it’s best to throw it into chaos, so it’s easier to program the target with their “suggestions”. And I’ll also add, that the horror film genre is great for this, cause most of the elitist technologies for mental conditioning are “trauma-based”.

Beyond all that, seeing gratuitous amounts of violence in one sitting (on several occasions), tends to make any person(s) less sensitive to violent displays, thus, it can make a collective of people less empathetic to the suffering of others—and this promotes “individualism”. Now, the reason whitey’s likes this is, if they can get a whole generation of people to care less about others and more about themselves, those individuals are infinitely more likely to be receptive to whitey’s programming, and complicitous with the status quo of whichever social order they live in.

Now, I can hear some of y’all sayin’, what’s this gotta’ do wit’ the “US” movie? Trust, I got you—we’ll get to that in a hot sec’.

But here’s one mo’ thing I want you to peep out…

In a 1974 “Time” magazine article, it states how a 24-year-old African-american man (a Mr. Lyle H.), was sent to the emergency room 3 times over the course of a month, after watching the movie, “The Exorcist” (and I’ll leave a link for the website where I got this info. from). It also goes on to say, that he continually complained of “flashbacks” and of “getting nervous” around his 5-year-old daughter, who, after watching this flick, he thought was “demon-possessed”. Additionally, he complained of a continuing insomnia, and thinking that certain people “looked strange” to him—and behind this, he was given Valium and referred to a psychiatric clinic. Thereafter, he complained that the therapist assigned to him, might also be working for the devil.

And, it’s documented that after seeing this film, 2 movie-goers from Chicago had to be hospitalized—and there were literally hundreds of other cases like this behind people seeing this flick. So, in terms of the white fascist agenda—it was mission accomplished. Now, behind these examples, coupled with the fact that Black people got tired of seeing themselves get killed off in the first 15 minutes of these flicks (especially when it comes to Black men), Black folks in general tended to avoid horror films. And this created a dilemma for whitey—meaning, mr. white folks needed a way to get the majority of “US” back to cineplexes to watch these gratuitously violent crap films—and what better way to do that, than to have us in lead roles, with a Black writer and director behind the scenes curating the whole project—they just needed to find the right negro for the job.

Enter Jordan Peele.

Jordan Haworth Peele was born on February 21^st, 1979, in Manhattan, New York City, he’s the only child of his mother, Lucinda Williams, and his father, Hayward Peele. Mind you, Jordan’s mother is white and his father is Black. Jordan was raised in a nurturing single-mothered household, and it was from there that he attended the “Computer School” in Manhattan for his grade-schooling education—from there, he went to “The Calhoun School” on Mahattan’s upper-west side for his high-schooling years, and thereafter he attended, Sarah Lawrence College. After his sophomore year at Sarah Lawrence, Jordan dropped out to form a comedic duo with his collegiate roommate, and future “Key and Peele” writer, Rebecca Drysdale.

Jordan’s breakout role came in 2003, when he was hired as a cast member of the FOX-TV series, “Mad TV”. After spending 5 years there, he and Mad-TV collaborator, Keegan-Michael Key, created and starred in their own “Comedy Central” show, “Key and Peele” in 2014—and thereafter, their show became a runaway success.

Fast forward to 2019—and more specifically, March 22^nd, of 2019—when the movie, “US”, written and directed by Jordan, arrived in theaters. Now, for the (very) few of you who’ve haven’t seen or heard of this film, let me give you a bit of a primer on its story: Adelaide Thomas (played by Lupita N’yongo) goes on a vacation in Santa Cruz, California, with her family, including husband: Gabe (Winston Duke), son Jason (Evan Alex), and daughter Zora (Shahadi Wright Joseph).

Now, in a nutshell, once this family arrives at this vacation, they meet up with their under-ground dwelling “twins” known as the “Tethers” (mind you, “doppelganger” is a fancy word for this), and these Tethers (who mention sometime during the film that they’re a “failed government experiment”), hold this family hostage in their living room and are hell-bent on swapping places with them, so they can enjoy some of the trappings of an “above-ground” existence.

Now, before I really go in, I wanna’ say emphatically that I HAVEN’T SEEN THIS MOVIE AND I’M NOT GONNA’! And the above-mentioned reasons, along with the ones below are why.

Mind you, I know I’m giving readers an extremely cogent synopsis of this film—but I think y’all got the gist of what this flick’s about, so, let’s get to the boatloads of (Cinematic) symbolism(s) that were purposely embedded in this flick for our viewing (dis)pleasure *wringing hands*.

Now, there’s 3 facts I need to mention right from jump…

#1. The title, “US”, is not only a word, but an acronym, that really stands for: “U=underground” and “S=surface”—and to break it down even further, this movie is all about the “CONSCIOUS” and “SUBCONSCIOUS” minds y’all. Meaning, Adelaide, Gabe, Jason and Zora, represent the “conscious” minds of Black folk (surface), while the “Tethers” are reppin’ our collective “subconscious” (underground). POINT BLANK, PERIOD.

#2. The reason Jordan named his company “Monkeypaw Productions”, is the “monkeypaw” has been a staple of “witchcraft” and “spellcasting” for centuries—now, folklore has it that the monkeypaw would grant wishes to the person who owned it—but at a horrific price. Meaning, the price you’d pay for the monkeypaw helping you obtain what you wanted, was greater than obtaining it yourself—and somehow, this was supposed to teach the person to value life as it is. So, with his company’s name, Jordan is identifying himself as 2 things: 1. a freemason, and 2. a sorcerer/magician. And to break it down even further, Jordan’s saying his sorcery’s primary medium is socially engineering cinema.

#3. The numbers 11:11 repeat throughout this flick, say moviegoers who’ve seen it—so, let’s breakdown this bit o’ symbolism—in metaphysics, the numbers 11:11 are meant to signal a mental (or conscious) “awakening”. So, in regard to this flick, this number is saying that we (indigenous Black people) are beginning to wake up from the white fascism-induced slumber and self-hatred that’s been bred into us—and whitey don’t like that. Now, to counter this awakening, Jordan would instead like “US” to focus on the biblical play on these numbers, which is meant to have us referencing “Jeremiah 11:11”. And that bible verse reads: “Therefore this is what the Lord says (about “US” Black folk): I am about to bring upon them a disaster that they can not escape. They will cry out to me (the lord god), but I will not listen to them.” So, that means what? Welp, this is supposed to reinforce the fact that we are indeed the “’Ham’ites” of whitey’s bible—thus, we should think of ourselves as a “doomed race”. Now, someone reading this might think, bruh, it ain’t all that serious, it’s just a film. Well, like I said before, this flick is all about the conscious and subconscious mind, and it aims to reinforce every negative stereotype that’s been conditioned into us, about ourselves—so, Jordan’s freemasonic handlers have him doing this for the expressed purpose of keeping “US” in a perpetual state of self-hatred. 

Now, I know I said I had 3 things to say about this flick from jump—but let’s be audacious and go for 4…

#4. Jordan and his white fascist handlers put their stamp on this project by putting it out on March 22^nd. Why you ask? Cause as you can see by the pic of this pendant (left), the number “322” (3/22) is used to represent the (notorious) “Skull and Bones” society of Yale University—and for anyone who don’t know, members of this coterie are some of the most famous freemasons in the world—and some of their most noteable alumni include: George H. Walker Bush Sr., George H.W. Bush Jr., John Kerry (politician), Paul Giammatti (actor), William F. Buckley Jr. (former CIA officer and noted scholar), Earl Graves (CEO of Black Enterprise Magazine)—and mind you, these are but a few.

Now, at the very beginning of this flick, we open with a scene from “Hands Across America”—the failed experiment (just like the “Tethers” claim they are) that was supposed to end homelessness in the “U.S.”. Basically, in 1986, americans raised money for the homeless behind this day of national “hand-holding”—but there were several breaks in this “human chain”—but what’s more important than this event, is the symbolism behind it. Basically, this was part of this flick’s “psy-oped” engineering to get our collective (subconscious) minds, back to the 80’s.

Why, you ask?

For 3 reasons…

#1. Any Black person who remembers the 80’s can vouch for the fact that the elitist troika of “Reganomics”, “crack”, and “AIDS”, were aimed at our communities, for the expressed purpose of destroying “US” collectively.

#2. Behind the white fascist initiatives of “Reganomics”, “crack”, and “AIDS”, the Black “nuclear” family as we knew it, was almost entirely obliterated, and we’re still trying to recover decades later. And this is whitey’s ultimate goal y’all.

#3. In a further effort to keep the collective minds of Black folk mired in a permanent self-hatred, whitey keeps our thinking in a state of 30-year regression(s).

Meaning, I was in my early teens back in the 80’s, when I distinctly remember watching TV and thinking to myself, what-in-the-hell is this program “Happy Days” doing on television? Now, for those who’ve never heard of or seen this show, it basically centered around “Richie Cunningham” (who’s played by Ron Howard—the film director, yeah, that guy), and his “nuclear” family, and the family friend named the “Fonz”, short for “Arthur Fonzarelli”. And basically, this is a story of Richie’s days in high school and the misadventurous hijinks he manages to get himself into with his friends—mind you, this show’s set in the 1950’s—and trust me, it was beyond corny. Now, supposedly the ratings were high enough to make this show one of the most popular of the 1970’s, but the “Nielsen” ratings agency, who were the authority on those ratings, were found to be “cooking the books” on those numbers for the right price—meaning the veracity of those figures were questionable at best. And mind you, this TV show was based on the “popular” George Lucas film, “American Graffiti” (AG)—moreover, this movie came out before George Lucas made “Star Wars”. And AG was also set in the 50’s. So, this was done to keep the collective minds of Black folk in the subconscious conditioning we’d been given (especially in america’s educational system) to hate ourselves and anyone who looked like us.

Meaning, if you subtract 1984, which is when I started watching “Happy Days”, from 30, you’ll get “1954”—just like when you subtract 2019 from 30, you get 1989—so we’re back in the 80’s again.

Now, you might be thinkin’, wait a sec’, why would watching any show based in the 1950’s make us hate ourselves? Besides, Black people weren’t the only ones watching that show, I’ve got some white friends who were raised on that program. Difference is, the majority of the world looks like “US”, and we have the most genetic power to breed whitey outta’ existence. That’s why this show was broadcast nationally and internationally, to keep our mind’s re-set to the conservative 50’s—an era where we still thought our ancient ancestors, were nothing but slaves. whitey also did this in an attempt to eradicate all the cultural changes that happened in the 60’s and 70’s.

And here’s 3 mo’ points befo’ we’re through…

#1. If you look at the clothing of the “Tethers” (left), you notice how their attire is made to look like an orange “prison” jumpsuit? Now, being that the Tethers represent the “subconscious” of Black folks, whitey wants that part of us “tethered” to thinking of ourselves as prisoners, or the people most likely to wind up in jail—and this is to thwart the fact that incarceration rates (especially among Black men) have been steadily falling over the course of the last decade. Moreover, the Tether’s clothing looks like something you’d see Black actors wear in some sort of movie “tethered” to a “slave” narrative—and way too many of us are awakening to the fact that 90% of the “Trans-Atlantic Slave” allegories were pure fiction. If for no other reason than knowing that Black people were in america before anyone else, so why would whitey have to go to Africa to get (or enslave) us? And this is what the “ADOS” movement is really about—it’s got nothing to do with reparations, and everything to do with keeping us locked in a “slave” or “inferiority-complexed” mind-state.

#2. The reason Jordan likes to put exceptionally “dark-skinned” brothas and sistas in his horror flicks (Daniel Kaluuya—"Get Out”), is ‘cause he feels that it must be horrible to be a darker-skinned Black person. Meaning, he loves the fact that he’s a bi-ethnic, “lighter-skinned” negro, ‘cause it makes him feel superior to the “US” collectively.

#3. In ancient mythology, “white rabbits” are symbols of fertility and child-bearing, and the reason we see them strewn through-out this flick is, whitey wants to remind us, that Black men and women should be obsessed with having children with ANYONE ELSE BUT ANOTHER BLACK MAN OR WOMAN! Remember they chose “white” rabbits for a reason. And being that we have the most genetic power to breed whites outta’ existence, and their birth-rates have fallen below replacement levels, this is a message whitey really needs to get into our conscious and subconscious minds.

Remember “Neo” in “The Matrix”? Now, where did he see the “white rabbit”? Right, on the shoulder of the woman, who looked like she wanted to have a 3-some with him and the white guy she was hugging-up on. So, this was telling white men, that they should go outta’ their way to mate and have more children with white women.

Now, I’ve said all that to say this, I could break down more of this movie’s symbols, but I think y’all got the idea of what this flick and Jordan are really all about. And even if you’ve already seen this movie, or plan to, my message is, when it comes to “US” MOVIES AIN’T JUST ABOUT ENTERTAINMENT Y’ALL!

Mind you, I’m not saying you can’t have a good time at the cineplex, I’m just making sure you understand that when you see these flicks, you should do so with your “guards up” around your subconscious, so you’re not adversely affected by what you’re watching.

And like Sam L. Jackson said in Spike Lee’s classic film, “Do the Right Thing”: “That’s the double truth, Ruth.”

Later…

—MontUHURU Mimia

P.S.

Here’s the movie trailer for the 1973 film, “The Exorcist”. Note how the 2 “Williams” names (Blatty and Friedkin) are prominently shown. *Warning: This video clip contains very graphic imagery, viewer discretion is advised.

P.P.S.

You can read the article that talks about the mental illness this movie induced into so many of its viewers HERE.

*Addendum: 4/18/2019—Family, I forgot to post the link to the editorial I wrote on Jean Jehan (in regards to the Will Friedkin movie, “The French Connection”)—so, if you’d like to read that, you can do so HERE.