Them Review: A definitely up to watch show presented by Prime Video

Watching them is like holding my breath. Your shoulder is tense, and your heartbeat is fast when you wait for something, whatever, to solve the show’s tension installation.

But when the catharsis came in the form of a frightening leap, it never relieved. There is always another breath to hold.

There is always another reason to stay kept and turbulent. It’s all to say that they are a bit horror wrapped around the comment biting about American racism.

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Them is created by Little Marvin and executives produced by Lena Waithe:

Them are the latest amazon anthological series. Structured a bit like an American horror story, every season will follow stories and collections of different characters when explored, with Waithe’s words.

From one minute, it didn’t hold back anything. Season 1, also known as them: Agreement, followed the black family in 1950s America, which moved from North Carolina to California during the second significant migration. When they fight threats from their neighbors and beyond their world, Emory must fight for their survival.

Them’s brilliance lies in honesty and smoothness. The show immediately clarified that Emory’s neighbor did not want to do with this new family.

Homemakers who were indeed dressed and the white-collar husband who ran directly. From my love, Lucy regularly scheduled a dinner party only for the scheme of how they could get rid of Emori.

Hear some foreign languages ​​and racists spit beautiful pie and red lipstick that perfectly sickens. Betty Wendell Pill Alison has an exceptional talent to describe this hypocrisy, garbage people hidden under clean dresses and heels.

But even when they did not directly talk about intense hatred, the Emory family had to survive, that racism was still there. It feels like the Henry Family Patriarch (Ashley Thomas) walked into a room, and every white head turned to stare.

It was there when one of Livia’s neighbors (Deborah Ayorinde) smiled a little too wide. The waves were a bit too robot. That anxiety extends to white people who are “good” on the show.

Even if the hardware shop owner or classmate initially did not appear racist. There was always a terror who lurked. In it, even the most harmless movements feel like a veiled threat.

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So often, the threat is real. Them is a grinning Emorys grab their seats and radio:

To surround their homes at one neighbor’s point. When they drink ice tea and smile, they also raise their radio, create a hustle-cacophonous that annoys every crime as it appears.

In another episode, Ruby’s oldest daughter (Shahadi Wright Joseph) was cruelly ridiculed while in class. There are so many racisms that are too real in every interaction. Almost no enough fear left for them to lurk a supernatural threat.

It’s hard to make a show that is always at the boiling point without feeling like it’s trying too hard. They have avoided this obstacle thanks to the very talented cast.

Thomas played his veteran that turned into a proud fragility title that made you root immediately for him. This is a man who wants the best for his family, and you want him to achieve that simple dream.

Shahadi Wright Joseph and Melody Hurd are excellent like Ruby and Gracie Lee, respectively. Joseph entirely took advantage of the stellar command of the intestinal expression’s heartbreaking, which made him a power in the US, and Hurd leaned into a scary child cliche without playing his hand.

There is Deborah, Ayorinde. Livia Ayorinde, or “lucky,” is the soul of the season, both the bloody heart that makes you like this family and constant foil to the classic leading female horror trophy. He is a woman who constantly acts instead of reacting, insists itself in the world who wants it to disappear.

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Own one of these actors will make you watch, but together? They are strength.

The advantages of this narrative and acting are consistently praised by beautiful cameraworks and inspired soundtracks.

You can stop for a moment and find a balanced setting that is still very delicious between beautiful Americana and severe crime, each of which is worth the framed. And it will be an error to ignore their music signals.

Be released carefully from old songs like “being happy” and “ready or not here I come” by Delfonics appeared during their tensest times. Often these streaks of stripes embed their scenes with a record of dark humor. It becomes essential they almost feel like the fifth member of the Emory family.