Jordan Peele’s Get Out (2017) closely follows in the footsteps of the social justice framework set by Bryan Forbes’ Stepford Wives (1975). However, as opposed to sexism, Peele confronts contemporary systemic racism in a similar head-on fashion. Being one of the most “black and white” color films of its time, the viewer is exposed to hyperbolic visual motifs tacit to the segregation within our society. Within the first scene, we watch an unsuspecting African-American man out for a midnight stroll down a suburban sidewalk. Suddenly, a lurking white car pulls up behind the man akin to Michael trailing behind Sally in Halloween (1978). Through this scene, Peele immediately conveys his directional intent for the film, and it only builds from there.