As the recent documentary Horror Noire explains, most early American horror films with black characters play very differently for black viewers than for white ones. In American horror stories, people of color have traditionally been associated with a monstrous, vengeful, often magical Other who threatens white purity. As POC creators have entered the horror field to add new perspectives, innovative new narratives have reversed these tropics. In recent reports, affluent white people are the sinister nightmare night who tries to own, corrupt, and control all others by stealing their bodies and perhaps their souls.
Best known is the plot of Jordan Peele's hugely successful film of 201
Chambers is in Arizona, near a dine reserve, and many of the main characters are Native. The protagonist Sasha Yazzie (Sivan Alyra Rose) is a student who lives with her uncle, the fish shop owner Big Frank Yazzie (Marcus LaVoi). As the series begins, Sasha has a devastating heart attack while trying to lose her virginity with her (very sweet) boyfriend TJ (Griffin Powell-Arcand). She receives a heart transplant from a rich white girl named Becky Lefevre (Lilliya Reid), who died in an accident that same night.
Becky is not as dead as she should be. Sasha remembers things the other girl had done and had visions of things Becky saw. Eventually she even gets blond hair and watches her hand go pale. Hunted by Becky's mind, Sasha begins to investigate the girl's death, becoming more and more involved in Becky's life and alienated from her own.
In Get Out whites plan to steal the bodies of black people in a clear metaphor for slavery and exploitation. Chambers tackles similar problems from a different direction. History is not about slavery, it's about assimilation. Sasha worries that her new heart will make her a white person. She experiences a double consciousness as the other girl enters her world. It's a scary experience because losing yourself is ugly and painful. But it's also scary because for them whites are the unknowable others, a different culture and way of being other than themselves.
Sasha deals with whites other than her mind , After her heart transplant, Becky's parents, Ben (Tony Goldwyn) and Nancy (Uma Thurman), want to be part of the girl's life that saved her daughter. The Lefevres invite Sasha to dinner and offer her a scholarship to Becky's expensive private school, where each student receives a Life Coach and a laptop.
Sasha thinks her new school is ridiculous. She obviously nods in disbelief when she shows the school's meditation room, crammed full of naps. But she is also disturbed and disoriented when she was introduced to a strange world. At the beginning of the show, when she is with her friends or her family, she is carefree and bubbly. But being forced out of her comfort zone makes her a drawn, square, grumpy teenager. Partly thanks to the insomnia – Sasha has to get up early in the morning to take the bus to the new district – the school is transformed into a kind of wake-anxiety dream. She does not know anyone. She is not prepared for schoolwork. She appears and walks through someone else's day, disconnected and alone.
It's bad enough if Sasha just does not like her classmates or does not know the material in her classes, but it's worse if she suddenly starts with statistics. Pop quiz or virtuoso sword art ads in fencing. Narrative, that's Becky in her, a spirit usurping her soul. But Sasha, who loses himself, seems to be a clear reference to the history of Indian boarding schools, which are charged with "killing the Indian to save the man" (or, in this case, the woman).