Swarm, the review of Donald Glover’s Prime Video series

Different platforms but same intention. Donald Glover can be considered one of the prophets of the ideology of trespassing, of the multimedia culture able to tell with extreme lucidity and above all without half measures the infinite transversality of digital narration, allowing the non-categorization oftoday’s Black Culture. Not only with his music, where This is America today more than ever is the other American anthem fortunately not misrepresented as Born in the USA by Springsteen (Ben Affleck recently talked about it with Air. The story of the great leap) but Glover draws heavily on the potential of diffusion, of the streaming flow, to think once again about the obsession, the relationship in relation with the icons of the new generation placed between the birth and the hypersaturation of the media impact on mass society. Why the previous one Atlanta he certainly observes the malaise from the point of view of the neighborhood, of the so-called hood, integrating the urban substrate with the aim of deconstructing the myth and the greatness of the past, of the revived American dream. Instead with Swarmseries by Amazon, Glover draws from the corpulent matter of Black Horror to retreat superficially into the claustrophobic psychosis of an adolescent, misleading us.

Swarmmail between 2015 and 2018, chronicles young Dre’s (Dominique Fishback) compulsive obsession with the Tumblr-era pop star Ni’Jah which will lead her, after the suicide of her older sister, to take revenge on those who have dared to insult their idol on social media. Already from the synopsis of the series it is possible to understand the focal point posed by Glover, or the toxicity of the fan base, of how they spread like real media hives. Starting from the dreamlike construction of the character of Ni’Jah who clearly imitates Beyoncé, universally recognized as the greatest queen bee of the American pop scene, Glover with hysteria and impulse circumvents the code of the atypical thriller to tell the dissection of crime in the forms established by the hypnotic structures of True Crime and the new cinema indie

American. Because more than the disturbing sequences in which Dre commits his misdeeds, the pivotal episode of Swarm it is the sixth, where the series intentionally drags us into the purest dimension of the television show, placing the eternal dilemma on the image as absolute truth. Not even the closing episode, perhaps too much in there due to the form that the series had now taken and perhaps the only real flaw of the product, it can tell with uncanny inspiration the umpteenth look of gloomy fervor of the African-American artist, a nostalgic devourer of forms and the ideological crisis of an entire generation.

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