The transplant works.
That's the trap—Rod's explanation of Coagula in the garden treats consciousness as data that can be copied, downloaded, transplanted, and Peele never questions this.
The film's terror comes from taking the procedure at face value: a wealthy white man inherits a young Black man's body, his athleticism, his desirability. But neuroscience understands what Get Out's own logic refuses—consciousness isn't transferable, it's located, and moving Dean's consciousness into Logan's brain doesn't preserve Dean, it kills Dean and leaves an imposter wearing his face.
The film never addresses this. Instead, it lets the horror sit in the extraction itself—Dean doesn't escape death through Coagula, he guarantees it while stealing Logan's remaining seconds. The procedure is murder by transplant, and the genius is that Peele coded this into the mechanics without acknowledging it.
The real horror of 2017 wasn't that this technology might exist someday, but recognizing that white wealth had been doing exactly this—consuming Black bodies, extracting their labor and vitality, leaving hollowed versions behind—for centuries, and Coagula just adds a surgery to a system already perfected.
Listen to Derek Parfit's Reith Lectures on personal identity (1984)—specifically his argument that consciousness is not what matters in survival—then rewatch the auction scene knowing that the film's greatest horror is presenting transplantation as metaphor while the science proves it's murder.
Jordan Peele's 2017 interview with The Ringer where he discusses the biological research that informed Coagula reveals he deliberately avoided consulting neuroscientists about the continuity problem, choosing instead to treat the procedure as emotionally true rather than scientifically coherent—a choice that accidentally makes the film's moral argument sharper than its own dialogue can articulate.