'Them' and the Reimagining of Black Femininity and heroism.
TV in 2024 still has a tumultuous landscape, clichés strut arrogantly as characters, while stereotypes masquerade as authenticity. Then, amidst this sea of mediocrity, emerges 'Them'. Prime Video’s 'Them' stands as a chilling anthology series created by Little Marvin and shepherded by the executive prowess of Lena Waithe. Season 1, as aptly articulated by the esteemed Roger Ebert, transcends the confines of conventional horror, as it is “more horrifying than horror.” It tells the harrowing tale of the Emorys, a black family thrust into the cauldron of 1950s Compton, California—an all-white enclave seething with prejudice and malevolence. Within this narrative crucible, viewers find the Emorys, as a beacon of ‘black middle class’ normalcy amidst the modern terrain of 2020s black television portrayals, expertly played by the formidable talents of Ashley Thomas, Shahadi Wright Joseph, Melody Hurd, and the indomitable heroine, Deborah Ayorinde.
We need more black middle class representation on screen…
The Emory’s played by (left to right:) Deborah Ayorinde, Shahadi Wright Joseph, Melody Hurd, and Ashley Thomas.
Season 1 of 'Them' etched an indelible mark on our television screens, weaving together strands of horror and reality into a mosaic that speaks to the very essence of black identity. It laid bare the festering wounds of systemic oppression, while simultaneously challenging the divisive dichotomy of "Them vs Us". Through its visceral portrayal, 'Them' Season 1 redefined the contours of black representation on screen, shattering the fetters of stereotypical tropes with each compelling frame.
And yet, as the dust settles and the echoes of Season 1 fade into memory, the saga of 'Them' is far from over. As Season 2 drops on Prime Video, the stage is set for a continuation of this riveting and compelling odyssey—a journey that promises to further explore the depths of the black experience in America, while continuing to challenge and redefine the boundaries of storytelling itself.
Melody Hurd and Deborah Ayorinde - ‘Them’ (2021). Amazon Studios
Season 2 of 'Them', much like its predecessor, emerges to me as another guiding beacon of redefinition, albeit in nuanced and distinctive ways. Leading the charge again is Deborah Ayorinde, whose performance not only defies but obliterates the confining borders of black femininity entrenched in the annals of mainstream media. Throughout the turbulent saga of television history, black female characters have too often found themselves relegated to the sidelines, relegated to mere ornaments in the narratives dictated by their white counterparts. In the anthological world of 'Them', Ayorinde's character transcends those suffocating constraints, delivering a multifaceted portrayal that strikes at the very core of stereotypes. Vulnerability metamorphoses into strength, compassion serves as her arsenal, and resilience echoes as her anthem. Through her portrayal of “Livia Emory” and "Detective Dawn Reeve”, the traditional depictions of black women on screen are not merely challenged, but dismantled, leaving behind a trail of shattered misconceptions.
Joseph Wright’s “Scandalous: Olivia Pope and Black Women in Primetime History” (2014) contemplations on the paradoxical interplay between visibility and authenticity reverberate with profound resonance in this context. In the ceaseless pursuit of crossover appeal, black characters and creators have often found themselves compelled to relinquish their blackness. However, 'Them' boldly defies this perilous trajectory, embracing black femininity in its raw, unfiltered essence. Patricia Hill Collins' seminal discourse, "Black Feminist Thought," lays bare the insidiousness of stereotypical portrayals such as the "mammy" and "jezebel" archetypes, historically weaponised to justify the subjugation of black women. Moreover, the insidious whitewashing of black experiences by white feminism, as evidenced by Camille Paglia's distortion of the "mammy" stereotype, further compounds the issue. The landscape of film and television is riddled with problematic depictions of black women, perpetuating harmful stereotypes that continue to echo through the corridors of time. It is within this fraught terrain that 'Them' emerges as a vital disruptor, providing a sanctuary of authenticity where Deborah Ayorinde's ‘Dawn Reeve’s’, alongside the indomitable presence of Pam Grier, stands as a resounding testament to the transformative power of genuine representation. Yet, despite this, in 2024 the lamentable dearth of black female heroism in mainstream media remains glaring. When such portrayals do emerge, they are invariably suffused with stereotypes, further entrenching the narrow confines of representation. 'Them', however dares to challenge this entrenched status quo, offering a tantalising glimpse into a world where black female heroism is not merely conceivable, but exalted in its entirety.
Pam Grier and Deborah Ayorinde - Them: The Scare (2024). Amazon Studios
Toni Morrison's poignant exploration of the "origin of others" served as a haunting reminder of the pernicious role stereotypes play in dehumanising and marginalising certain groups. It is through the art of storytelling that we confront both the problem and the solution. Figures such as Barry Jenkins, Lena Waithe, and Ava DuVernay depict black stories with dexterity, illuminating, enlightening, and ultimately, inspiring change.
After you finish reading this it is my hope that you add ‘Them’ Season 2 to your watch list and consider my call for disruption reverberating through collective consciousness. It is time to dismantle the prevailing depictions of black women in film and television, replacing them with narratives that embrace the richness of their lived experiences. As a storyteller I can’t help but impress upon you the inexorable potential for societal metamorphosis, one episode at a time.
