Like Get Out, Netflix's horror series, Chambers, explores the terror of whites

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Like the recent documentary Black Horror Most early American horror movies featuring black characters play very differently for black and white audiences. Traditionally, in American horror stories, people of color have been associated with a monstrous, vengeful, often magical Other who threatens white purity. While the creators of POC have entered the field of horror to add new perspectives, new innovative stories have reversed these tropes. In more recent accounts, affluent whites are the sinister nightmarish power that seeks to possess, corrupt and control everyone by stealing their bodies and perhaps their souls.

More famous is the plot of the highly successful film of 2017 by Jordan Peele get out. The same general description also covers the new series of Netflix horrors The rooms, which debuted on April 26 in the United States. But at the same time Bedrooms certainly has a number of debts to get outSuccess is not a derivative. Rather, it shows how Peele has allowed other creators to rethink what the future of the horror genre might look like, that people are considered terrifying and how a real social dynamic can add more resonance to the horror speculative.

Bedrooms is located in Arizona, near a Diné Reserve, and many of the main characters are Aboriginal peoples. The protagonist, Sasha Yazzie (Sivan Alyra Rose) is a schoolgirl who lives with her uncle, the big fish store Big Frank Yazzie (Marcus LaVoi). At the beginning of the series, Sasha suffers a serious heart attack while trying to lose her virginity with her boyfriend (very nice), TJ (Griffin Powell-Arcand). She is receiving an urgent heart transplant from a wealthy white girl, Becky Lefevre (Lilliya Reid), who died in an accident the same night.

Becky is not as dead as she should be. Sasha ends up remembering things that the other girl has done and having visions of things that Becky has seen. Finally, she even ends up having blond hair and watching her hand turn pale. Haunted by Becky's ghost, Sasha begins to investigate the girl's death, becoming more and more involved in Becky's life and more distant from his.

In get outWhites plot to steal and subsume their bodies in a clear metaphor of slavery and exploitation. Bedrooms addresses similar issues in a different direction. History does not concern slavery, but assimilation. Sasha fears that her new heart will turn her into a white person. She experiences a double consciousness when the other girl enters her world. It is a frightening experience because getting lost is ugly and painful. But it's also frightening because, for her, whites are the other unknowable, a culture and a way of being different from hers.

Sasha deals with whites other than her ghost. After the heart transplant, Becky's parents, Ben (Tony Goldwyn) and Nancy (Uma Thurman), want to be part of the life of the girl their daughter saved. Les Lefevres invite Sasha to dinner, then offer her a scholarship for the dear private school of Becky, where each student is assigned a life coach and a laptop.

Sasha thinks her new school is ridiculous. She nods with obvious disbelief as she shows the school's meditation room, filled with rich children who are napping and stressed. But she is also disturbed and disoriented by her insertion into a foreign world. At the beginning of the show, when she is with her friends or family, she is carefree and bubbly. But being forced to leave her comfort zone turns her into a comely, angular and gloomy teenager. Partly because of insomnia – Sasha has to get up in the early morning to take a bus to the new neighborhood – the school turns into a kind of daydream. She does not know anyone. She is not prepared for school work. She shows up and walks in someone else's day, rambling and alone.

It's bad enough that Sasha just does not like her classmates or does not know the content of her classes, but it's worse when she suddenly starts playing statistics statistics or doing fencing demonstrations. virtuosos in fencing. Narratively, it's Becky in her, a ghost who usurps her soul. But Sasha getting lost also seems to be a clear reference to the history of Indian Residential Schools, tasked with "killing the Indian to save the man" (or the woman, in this case).

Schools and scholarships are meant to offer opportunities. But from Sasha's point of view, these occasions begin to look like a magical ritual meant to tear her heart apart and turn her into Becky. Becky's parents are unusual sources of malevolent magic: in most horror stories, people of color appeal to the superstition and mysterious powers of another world that "civilized" whites do not understand. The natives are vengeful spirits Fighting spirit or the founders of this nightmare graveyard Pet Sematary.

But in Bedroomsit is the indigenous peoples who reject tradition and superstition in favor of rationality. Sasha's uncle strongly rejects the religion of his family and leaves part of his reserve to escape. Becky's grandfather, who stays on the reserve, says, "Everything is important. There is no magic. However, the Lefèvres believe in everything. Lefevre's "fucking bullshit," as Big Frank calls it, includes crystals, diets, therapy, and even, in Ben's case, a kind of bodily mortification ritual. All spirituality is centered on a New Age religious movement called the Appendix, which seems less benign as the series continues. There are strange ugly gods at work, but they do not haunt indigenous cemeteries. They hide in the suburbs and dribble from the ceiling of this meditation room – cold, white, clumsy and hungry.

Part of what makes get out awesome was his only goal. Peele's film is a mastodon, each detail of which tells the apocalyptic revelations of conspiracy and hatred. Inevitably for a series of 10 episodes, Bedrooms is more sinuous. Racism and social endemic issues of society are sometimes addressed, such as when one of the characters is stopped. But more often than not, they glitter like heat in the vast landscape of Arizona, ubiquitous but hard to see clearly.

Some viewers might find BedroomsHesitations and frustrations. Becky takes her time owning Sasha and, though there are many unsettling, even bloody footage, the plot takes a long time to create a real suspense. Even the end and the final confrontation with Becky are an anticlimax study.

Sivan Alyra Rose as Sasha is hypnotic; in turn, she is determined and vulnerable, terrified by herself and well in her skin. The measured cadence gives the show an opportunity to sketch its secondary characters, situating Sasha in a network of relationships whose strength is more affecting because of the way they creep into the audience. get out opened the door to a whole new world of horror. Bedrooms takes his time exploring this dark landscape with a strong vision and a lot of heart.

Every 10 episodes of Bedrooms will be published on American Netflix on Friday, April 26th. Dates may vary for international outing.

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