Jordan Peele's Oscar-winning Get Out (2017) is a study of suspension, suspending its protagonist between the suburban and the urban, the liberal and the fascist, the stereotypical African American experience and that reserved for the beneficiaries of White privilege in much the same way that Barack Obama's legacy has proven to be suspended between these extremes. Get Out's Chris Washington is a metaphorized Obama whose search for self mimics the former president's Dreams from My Father: A Story of Race and Inheritance in walking its subject through stereotypes and—ultimately—into self-identification with Blackness. However, where Dreams from My Father expresses a hope that suspension between two identities can operate as a means of uniting those otherwise disparate identities, Get Out views suspension as the ultimate hell—if only because it views the state as essentially impossible to achieve, and proven impossible by the critiques leveled at Obama's presidency by both Black and White, liberal and conservative, detractors. Get Out stakes its boldest political claims by selecting racist film tropes that have historically hinged on a character's suspension between divided racial identities, spaces, and paradigms/allegiances. The film then uses these stereotypes to critique fantasies of postracialism, sending Chris on the path of Donald Bogle's Tragic-Mulatto, patient Uncle Tom, and violent Buck in order to dispel the myth of the equally stereotypical Black Messiah's ability to transcend those stereotypes (and consequently, racism).