Lust for White Men
Blumhouse Production’s 2019 psychological horror film Ma was sure to make waves from the second that the trailer released, with its premise quickly bringing to mind other recent thrillers such as Jordan Peele’s Get Out (also produced by Blumhouse) and Us. Under the veneer of of mere entertainment, however, lies a thematic plot that was surely intended to lampoon the deplorable image of the black woman in 2019. Ma features the storyline of a lonely black woman who bonds with a group of rowdy teenagers, most of whom are unknowingly related to her past. Though the character of Sue Ann, or Ma, could’ve easily been played by a woman of almost any ethnicity, the choice in casting Octavia Spencer, or any black woman, for that matter, was surely intentional. Though race is rarely ever explicitly prominent in the film, this allows the subtext to be both subtle yet also laughably obvious for those who are aware.
The film portrays Sue Ann as desiring white men since her high school days, to the point where she is obsessed with the same man even as an adult. This involves looking him up constantly on social media and cutting out his picture to paste with her own. Said white man cares nothing about her, and actually views her as nothing more than a sexual curiosity or joke. This even leads her to feeling the same way about the man’s underage son, who she later kisses while he is under duress.
The sexual element, and the lack of reciprocal respect, could draw very obvious allusions to things such as race play and Ghetto Gaggers. The pasting of pictures and “pretending” to be with said white man can also be compared to the “boyfriend” tag that black women have domineered on Youtube and other sites to tout and brag about their supposed non-
The people that Ma has the most blatant animosity towards are all white women, from her white female boss, to the character of Maggie, as well as Maggie’s mother. In fact, Ma’s most “blatant” and intentional kills in the film are all BLONDE white women, one of whom she runs over due to her dating the white man that she desires.
This use of black women’s existing jealousy of white women couldn’t be more obvious, and also makes obvious why Octavia Spencer was cast as opposed to, say, Sandra Bullock. Keep in mind also Octavia Spencer’s usual co-starring with Viola Davis, a black woman known for making statements of bedwenchery and worship of white men.
The film portrays Ma as constantly being on social media, as well as her phone. This usually results in her white female boss berating her, as she is almost never actually doing her job.
Isn’t this similar to how black women are known for doing just this very thing, namely on the middle management jobs that the government gives to them? Black women are also known for their constant keeping up with who’s who on social media, using it as a further source of drama to feed their spiritual beasts.
Ma is also lambasted by a white woman later in the movie for making her business public, another stereotype of black women: running their mouths and airing their dirty laundry in public forums.
The phone use also leads into the next point.
Ma easily relates to the high school aged protagonists, and seemingly has no friends or relationships with people her own age. The Facetiming of these teens, as well as contacting them through social media, also adds to the sense that Ma is trying to relive high school, or perhaps never mentally left it either.
This is indicative of the clique-esque, constant teenager period that many black women live in for decades. This is why so many black women date thugs and “bad boys” into their senior years, as well as the grudge’s they feel for when certain men inevitably kick them to the curb.
This is why black women will typically not act (and especially dress) their age until around 60 years of age at the youngest, with many only developing some sense of being “elders” when they are metaphorically three seconds away from death.
5. Lack of Camaraderie With Black Men
Darrell (played by Dante Brown) is the only black teenager in the group, a dark skinned young man at that. He is also coincidentally the teen that Ma has the least amount of interaction or relationship with. At one point, when remarking that he is working on a project concerning the American slave trade to Ma, and seeking some fellowship through it, Ma simply scoffs at him in a more than dismissive manner. Later, after capturing the teens, Ma prepares a “Class Yearbook” photo session. She of course pairs herself with the son of the white man that she still lusted for (before going to lay with said white man’s dead body), but also paints Darrell with white paint, stating that “there’s only room for one of us.”
This shows several failures on the part of black women, namely their lack of true companionship with black men. Despite their lack of coming together with black men in areas of black pride or being “pro-black”, black women will attempt to accentuate their own blackness to further accentuate the non-blackness of their “boyfriend”. Meanwhile, a black man simply hanging around white people, let alone dating a white woman, “thinks he’s white” in black women’s eyes.
Ma also apparently had a husband at one point, a black man due to the obviously unmixed nature of her daughter. Said husband is never named or even shown, and the “relationship” is further muddied given Ma’s continual lust for the white man.
This shows the lack of loyalty on the part of black women towards black men, despite holy hell being based by black women if the shoe is on the opposite foot.
Ma’s daughter is revealed to supposedly be sick, leading to Ma keeping her home from school. The sickness is suggested to be fake, and with Ma’s suggestion that she shave her daughter’s hair, obvious allusions could be made to the real life situation of Dee Dee and Gypsy Rose Blanchard. Ma casually berates her daughter, intertwined with attempts at speaking sweetly to her and stating her love.
This is a clear example of the mental and emotional abuse that black women enact on their children, namely their daughters. The fact that Ma’s daughter is just as dark, if not darker than her, is also a rather interesting casting choice. Black women seemingly enjoy being abusive toward their dark skinned children due to their own self-hatred. Comparing said children’s darkness to the child’s father is another common practice, and what has already been mentioned about Ma’s ex-husband?
Amidst all of this abuse, black women will still attempt to feign love for their child, many times even invoking religion or God to justify or soften the abuse.
Overall, the movie Ma is a fascinating further takedown of the image of black women, using common and proven stereotypes about them to craft a horror story that rings all too real for all who have dealt with the black witch. Those with open eyes can easily see these narrative elements. Even liberals are beginning to sicken at the thought of black women, whose image is so poor that nearly no one can defend them. Now, their strong arm in the media is turning against them to punch them in the face, but they are so stupid and arrogant that many will laugh along, not realizing that they are in fact the joke