Get Out is a delightful, genuinely scary “social thriller,” as its director Jordan Peele calls it, that cost $5 million and grossed $172 million. It is 2017’s most profitable film, according to TIME. That’s because Get Out does what every good horror movie should do: it pinpoints something about our culture that makes us feel really uncomfortable and then it makes us feel better about it, all while confirming a moral structure we already agree with.

Blade Runner 2049 depicts a world so steeped in misogyny that the women are mostly either naked and helpless or murderous bitches. The men don’t fare much better: they march along melancholically, covered in blood and dirt, following orders. Some are human, born of mothers, but many are replicants, powerful bioengineered androids created for human use, made to look, act, and even feel convincingly human. This is a world where no one’s body really belongs to them, so loving can truly only mean being a stranger. In this way, Blade Runner 2049 does what the best speculative fiction does: it warns us about the dangers of the world we already live in.