THEM: Prime Original Series 4/9/21(Season 2: 4/25/24)
- Thread starter Blankthawtz
- Start date
LinusCaldwell
From The Eastside with Love
The show is intense but so is what white America has done to the black community. I guess the only thing this show is missing is education. I believe there should be a follow up on how the community needs to overcome. There’s a lot of stuff going on in this show. A lot of stuff packaged that the culture goes through on a daily basis.
There’s so many demons in this show that comes at you all at once that if they were to have given it 2-3 seasons you probably woulda had a palatable story.
My girl was like yo this is too much since we binged all 10 episodes
There’s so many demons in this show that comes at you all at once that if they were to have given it 2-3 seasons you probably woulda had a palatable story.
My girl was like yo this is too much since we binged all 10 episodes
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Action Mike
All praise..
Most mentally tiring show I've watched 
BlaqkSpliffin
Ni**as Still Weird - Me
To be fair....that part is very accurate and it makes you think
To be fair....that part is very accurate and it makes you think
like i said, couldnt be me. More power to ruby bridges family for fighting for integration considering thats what they wanted (the same education as the white children). But aint no way in hell im subjecting my child to that shyt, then or now. Aint bout to ruin my child's mental health by fighting to have the enemy teach my child.
I don't think 2-3 seasons would help. The show is missing engaging storytelling. There's no story taking them from point A to point B. I don't think that every story has to have that formula, however, this one needed that because the payoff is very empty. When we meet the characters, they are already empty shells. Where are the scenes of the Emory's just enjoying being a family - showing strong and healthy relationships amongst the madness? Where are the moments that glimpse into the character traits outside of the mental anguish? The show clearly has excellent and charismatic actors, but there's nothing on the page taking the story anywhere - it's just a series of insane and graphic moments.
BlaqkSpliffin
Ni**as Still Weird - Me
LinusCaldwell
From The Eastside with Love
Ok I feel you there coulda been more of a balance but how do you know 2-3 seasons wouldn’t have helped that? This was supposed to take place over a span of 10 days? So it went 0-100 real quick.
LinusCaldwell
From The Eastside with Love
Another thing that is VERY frustrating to watch is these demon/devil depictions. You don’t defeat the devil/demons on your own. You do it through Jesus’s name. This sense that Jesus hasn’t already defeated the devil and you can’t proclaim it is a huge problem for me in demonic activity movies.
The problem is that that next story never seems to come.
I haven't watched this yet, but based off of this thread and what else I'm seeing/hearing about it, I think I'm good. I'm tired of black movies and TV largely being "we got it bad, y'all". While that's tried it'd be great to just see something about us just living regular ass lives.
TLR filth has infiltrated our pristine film room waters
Tried to give it a chance
On episode 5 and nah
Your wife gets raped by some cacs and they kill your baby and the dad's solution was move to a racist all white neighborhood
On episode 5 and nah
Your wife gets raped by some cacs and they kill your baby and the dad's solution was move to a racist all white neighborhood
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TELL ME YA CHEESIN FAM?
I walk around a little edgy already
Racists are fapping to this shytty show
This article is interesting
Black trauma porn’: Them and the danger of Jordan Peele imitators
Black trauma porn’: Them and the danger of Jordan Peele imitators
various excerpts from the article:
The true horror of the superficial Amazon show lies in bombarding the audience with scenes of gratuitous, racist violence without having anything interesting to say.
There is an inherent difficulty in producing thoughtful art that comments sensitively on racial violence, dishing up that viscous bigotry as entertainment. In a 2020 Art in America essay, the academic Zoé Samudzi wrote: “Where Blackness is en vogue and atrocity images are a hot commodity, it becomes difficult to produce a commentary or satire that does not read almost identically to the quotidian flows of violence.” The art is, in essence, a continuation of the violence it seeks to represent.
But the Amazon Studios series Them has no time for such complexity, its creators less like artists struggling to strike a delicate balance between aesthetic, political, and welfare considerations, and more like sadomasochists. The horror anthology, which started with a 10-episode run earlier this month, simply indulges in cheaply exhibiting extremes of Black suffering. It is just the latest effort in what is being described as the “race horror” genre.
If, despite the radically different setting and historical material, this series sounds suspiciously like a sloppy pastiche of Jordan Peele’s critically acclaimed 2019 film Us, that’s because it is. Or at least it’s meant to be: both centre on the home invasions of a Black family, and the title steal is, frankly, cheeky. But what distinguishes Them from Us is that the established canon of Peele’s work stretches beyond the expected capacities of Black characters in horror films, allowing his actors, in both Us and his 2017 film Get Out, to revel in the fun and absurdity of the genre.
Where Peele’s work does grapple with racism, in Get Out, it is done so intelligently: attempting to reveal incisive but less visible truths about middle-class liberal racism, that racists can be “Good people. Nice people. Your parents, probably”, as Lanre Bakare wrote on its release. Them, however, forfeits the opportunity to make any sophisticated or penetrating appraisal of racism in the US beyond affirming its existence. Instead it is an exercise in gratuitous racial violence, both in the infliction of racial terror against the Emory family, and on the Black audience who are left without respite from visceral and degrading scenes.
Black trauma porn’: Them and the danger of Jordan Peele imitators
Black trauma porn’: Them and the danger of Jordan Peele imitators
various excerpts from the article:
The true horror of the superficial Amazon show lies in bombarding the audience with scenes of gratuitous, racist violence without having anything interesting to say.
There is an inherent difficulty in producing thoughtful art that comments sensitively on racial violence, dishing up that viscous bigotry as entertainment. In a 2020 Art in America essay, the academic Zoé Samudzi wrote: “Where Blackness is en vogue and atrocity images are a hot commodity, it becomes difficult to produce a commentary or satire that does not read almost identically to the quotidian flows of violence.” The art is, in essence, a continuation of the violence it seeks to represent.
But the Amazon Studios series Them has no time for such complexity, its creators less like artists struggling to strike a delicate balance between aesthetic, political, and welfare considerations, and more like sadomasochists. The horror anthology, which started with a 10-episode run earlier this month, simply indulges in cheaply exhibiting extremes of Black suffering. It is just the latest effort in what is being described as the “race horror” genre.
If, despite the radically different setting and historical material, this series sounds suspiciously like a sloppy pastiche of Jordan Peele’s critically acclaimed 2019 film Us, that’s because it is. Or at least it’s meant to be: both centre on the home invasions of a Black family, and the title steal is, frankly, cheeky. But what distinguishes Them from Us is that the established canon of Peele’s work stretches beyond the expected capacities of Black characters in horror films, allowing his actors, in both Us and his 2017 film Get Out, to revel in the fun and absurdity of the genre.
Where Peele’s work does grapple with racism, in Get Out, it is done so intelligently: attempting to reveal incisive but less visible truths about middle-class liberal racism, that racists can be “Good people. Nice people. Your parents, probably”, as Lanre Bakare wrote on its release. Them, however, forfeits the opportunity to make any sophisticated or penetrating appraisal of racism in the US beyond affirming its existence. Instead it is an exercise in gratuitous racial violence, both in the infliction of racial terror against the Emory family, and on the Black audience who are left without respite from visceral and degrading scenes.
