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Home / Entertainment / Like Get Out, Netflix's horror series Chambers explores White's terror

Like Get Out, Netflix's horror series Chambers explores White's terror



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

7 Get Out . The same full description also includes the new 10-episode horror series by Chambers, which debuted on April 26 in the US. Chambers certainly owes some debt to the success of Get Out but is not derived. Instead, it shows how Peele has enabled other creators to rethink what the future of the horror genre might look like, which people are perceived as terrible, and how real social dynamics can resonate more with speculative horror.

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.


Photo by Ursula Coyote / Netflix

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).


Photo by Ursula Coyote / Netflix [19659011] Schools and scholarships should open up opportunities. From Sasha's point of view, however, these opportunities look like a magical ritual that is meant to rip her heart out and turn her into Becky. Becky's parents are unusual sources of malignant magic: in most past horror stories, colored people resort to superstition and mysterious extraterrestrial powers that do not understand "civilized" whites. Aborigines are the vengeful spirits in Poltergeist or the founders of this nightmare cemetery in Pet Sematary .

But in Chambers the aborigines are those rejecting tradition and superstition in favor of rationality. Sasha Uncle vigorously rejects the religion of his family and leaves his reservation partially to avoid it Becky's grandfather, who stays in the reservation, says to her: "Everything is important. There is no magic. "The Lefevres, however, seem to believe everything. The "damn funny Lefevre bullshit," as Big Frank calls it, includes crystals, diets, therapies, and even in the case of Ben, a kind of physical killing ritual. The entire spirituality focuses on a religious movement from the New Age, called Annex, which looks less benign in the course of the series. There are weird, ugly gods at work, but they are not native burial places. They lurk in the suburbs and drip from the ceiling of the meditation room – cold, white, awkward and hungry.


Photo by Ursula Coyote / Netflix

Part of What Great Get Out was her expediency. Peele's film is a juggernaut in which every detail is aimed at his apocalyptic revelations of conspiracy and hatred. Chambers is inevitably slimmer for a 10-episode series. Racism and endemic societal issues sometimes come into focus when one of the characters is arrested. However, they shimmer more often like the heat in the vast Arizona landscape, which is omnipresent but hard to spot.

Some viewers find the hesitation and wavering of Chambers as frustrating. Becky needs her own sweet time to own Sasha, and although there are many disturbing and even bloody sequences, it takes a long time for the plot to build up a real tension. Even the end and final confrontation with Becky is a study on anti-climax.

Sivan Alyra Rose as Sasha is mesmerizing; alternately she is determined and vulnerable, is afraid of herself and feels well in her skin. The measured tempo gives the show the opportunity to sketch in its minor characters. Sasha is in a network of relationships whose strength is more influenced by the way they affect the audience. Get Out opened the door to a whole new world of horrors. Chambers takes time to explore this desolate landscape with a strong vision and a lot of heart.

All 10 episodes of Chambers will be released on Friday, April 26, on American Netflix. The data may vary for international publication.


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