Everything has two sides—pros and cons.

Support breeds opposition.

The growing black civil rights movement, though mainstream U.S. politics, never lacked dissent.

And The New England Times was a "white supremacist" stronghold.

In 2014, this paper still refused to hire blacks or mixed-race staff.

Asians too—no hires; only whites.

After Obama's term, this paper ran a comic editorial "The Bloodsucking Ghost Hovering Over America," warning of black dominance.

And since Martin heavily backed Obama's campaign, the paper labeled him a "white traitor."

This reporter was clearly here to stir trouble.

Martin glanced disdainfully, saying coolly: "You have your interpretation; I have my stance. This is free America, room for many ideas—but precondition: don't affect others."

He signaled incoming guards to block the reporter, then ducked into the waiting car with Scarlett.

Will Smith watched Martin's car vanish into the night, then disdainfully eyed the still-yelling white reporter, saying to Daniel Kaluuya beside him:

"Kid, you're lucky—meeting someone upright like Martin, no prejudice against blacks."

Daniel Kaluuya nodded vigorously: "Yes, I'm lucky."

[GodOfReader: Kekekeke, no prejustice? Yeah, right.]

...

Back home.

Martin didn't rest but fucked an excited Scarlett for 3 hours.

After, he held her against the headboard watching TV.

Time ticked by; Scarlett dozed in his arms.

Then, the bedroom door opened; Drew entered with a report, smirking at them: "Nice, I slave away working, and you two do naughty things?!"

Martin laughed: "I worked hard too."

"What hard?" Scarlett, stirred by the noise, rubbed her eyes, mumbling.

Drew tossed her jacket, climbed onto the bed, one hand grabbing Scarlett's pussy, the other pointing at the report's data:

"Opening day box office out? How much?"

Martin smiled: "Not bad—over $10,000 per screen average, total $24.22 million."

Though not perfectly accurate, the figures were close—error under $100,000.

Scarlett smiled; such an opening for an R-rated horror was top-tier.

Honestly, though she loved the script, she hadn't expected such a stellar start.

Horror in Hollywood was niche.

Get Out's first weekend might break $100 million!

"So much?" She exclaimed.

Drew pinched Scarlett's clit, finger on the lower data:

"This is aggregated data; blacks and minorities contributed hugely to the box office—pre-targeted promo worked."

"Hey, Drew, what's your hand doing!" Scarlett snapped.

"Hmm? Hand doing what? I don't know—it's out of my control!" Drew grinned wickedly.

"Fine, then my hand's off-leash too."

A second later.

Scarlett's also grab Drew pussy.

Drew yelped instantly.

The women tussled.

Martin sighed, set the report aside, and fucked them both.

Next day, Get Out rolled out across North America.

Meyers Films had coordinated with major chains early.

All North American chains screening Get Out boosted showings near black and minority communities, with lead Daniel Kaluuya focusing promo there. Google seaʀᴄh NovᴇlFire(.)nᴇt

Everyone knows most non-white communities are in U.S. urban cores.

And urban cores are typically slums; the wealthy live in suburbs.

These poor non-whites—black bros and sisters—when choosing entertainment, movies ranked below.

But Get Out was different.

Pre-release promo emphasized: this was a film championing black rights.

Through Meyers-affiliated media's sustained coverage and gossip rags' baseless stories, many non-whites noticed the film.

They knew the lead was black—a unknown Daniel Kaluuya; such folks were Hollywood dregs, yet Martin Meyers picked him as lead.

Many black folks first felt curious: why'd Martin choose this guy?

But also proud: besides Will Smith, Denzel Washington, blacks finally had another carrying a commercial film.

These black viewers, rare theater-goers, bought tickets to satisfy curiosity and support Daniel Kaluuya.

And Martin Meyers himself—his strong Obama support gave him great rep and influence in black communities; many saw him as one of their own.

Under Meyers promo blitz, young non-white men and women from every community flocked to theaters first, curious what kind of film it was.

And they weren't disappointed.

The film's satirical dialogue and black glorification made these early black viewers, back in communities, schools, squares, recommend it to family, friends, classmates.

Drawing even more people into theaters.