Us ★★★★

Us, Jordan Peele's latest horror film, has been unfairly co-opted by the collectivist army of Letterboxd as a commentary on class in America. I have seen it argued that this film's villains, the Tethered, represent lower classes who have been neglected by society and choose to fight back against their oppressors in violent revolution. These themes are present, but as with Get Out, there are two layers of social commentary in the film-- the superficial layer distracts the collective, while the secondary layer acts as a hidden truth that only the enlightened will be able to divine. The film thus manages to appeal to a broad audience while simultaneously nodding to the burgeoning movement against the authoritarian takeover of Western democratic society.

We must begin by noting that the Tethered, though often portrayed as pitiable, are not sympathetic. They are described as soulless, they lack speech capacity, and they wear red-- the color of communism. They are, at first, a leaderless collection of inhuman beings that exist due to sinister government experimentation. This experiment is carried out with the goal of controlling the populace like puppets. Automatically, the film has aligned itself with anti-authoritarian, anti-statist, libertarian philosophy. By taking one of the most ridiculous conspiracy theories-- the mole people of the sewers-- and transforming it into a horror concept that is terrifying in its own right, Us subtly slaps millions of complacent fluoride-drinking moviegoers in the face, and awakens them from their dreamless sleep. Is it any coincidence that the film's central inequality only arises due to government intervention? Is it an accident in the writing that an authoritarian project designed to control the citizens results in mass carnage? Of course not. These choices were deliberate, but by painting all of this with the thin veneer of class warfare, Jordan Peele manages to flummox and deceive the film critics of the world.

This is not the only aspect of the film that rejects modern slave morality. The home invasion is one of the most liberty-oriented premises in film, and is not solely limited to the horror genre-- from Inglourious Basterds to Mother!, many films have sought to manipulate the skin-crawling fear of unwelcome undesirables intruding in one's personal space. The home is the symbol of man's individualism. It is the place he goes to for solitude, safety, and seclusion. To violate it is to violate the man himself; the two are intertwined. The first scene with the Tethered family seeks to evoke this primal fear, and subconsciously drive viewers to defend their private property with all their might. Cleverly, yet perhaps unintentionally, Peele sets the film in California-- with the populace disarmed, the Tethered slash through thousands of people with scissors before concluding their rampage. This shit would never have happened in Texas.

The concept of the loss of individualism is also explored. Another one of man's great fears-- being replaceable and non-unique-- is a central theme of the film. In doing this, the movie once again cleverly attacks the collectivist instincts of its viewers, and subverts them by appealing to the primal human need to stand apart from the crowd. The Tethered are collectivists; they dress and act alike, holding hands as they do their vile deeds. They are both deranged and homogenized. It is this fear of assimilation that the film addresses, and it does so expertly. On multiple levels, Us attacks the forces of collectivism, and it promotes individualism, private property, and skepticism of government power. Freedom-minded viewers will enjoy this multifaceted exploration of their greatest fears.

The moronic mouth-breathing Marxist meatheads of movie-reviewing will almost certainly attempt to use this film as a frame for their own fetid pseudo-philosophy. Do not listen to them. They are simpletons, and are too conditioned by years of subliminal messaging to think in ways that oppose the guiding morality of the elites. This is not a film about class struggle. That interpretation is a decoy and a phantom; an illusion in a house of mirrors, if you will. It expertly exposes the collectivists among us, unmasking them and their true nature much in the manner of the film's disturbing conclusion. I have no patience for these puppets of elite manipulation. Let them prattle on about bourgeoisie capitalism and oppressed classes. That will never change what they fundamentally are: Scissor-wielding sewer-dwellers that are inherently inferior to us enlightened few.

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