![]() Patience, however, is rewarded, as the bigger picture – and how Dre’s back story informs it – gradually takes shape in the final three episodes. The result, in a characteristically Glover-ian way, is a lot of weird detours and a narrative that unfolds at its own grinding pace without appearing to be in any hurry to divulge what the broader point might be. ![]() Left to her own devices, Dre seems almost rudderless, sleepwalking her way through encounters, with Ni’Jah essentially serving as the light that guides her from place to place. Indeed, Ni’Jah’s most ardent fans refer to themselves as the Swarm, a not-so-veiled nod to the contingent known as the BeyHive. When introduced, Dre is an awkward person who shares a strong bond with her friend Marissa (Chloé Bailey), which includes their passion for a musical star named Ni’Jah, who is very definitely intended to be confused with Beyoncé. “Swarm,” too, is almost defiantly weird, in a mish-mash of styles and themes that draws from biting satire, understated comedy and most pointedly of all, horror, in a way that recalls some of Jordan Peele’s post-“Get Out” films.Īll of those things are helped immeasurably, it turns out, by casting Dominique Fishback (whose credits include “The Deuce” and “Judas and the Black Messiah”) as Dre, the central figure in a show that opens with her character experiencing a tragedy, then dealing with the aftermath of that on the city-hopping journey that follows. Glover has clearly marched to the beat of his own drummer in terms of his TV work, with “Atlanta,” which recently completed its run, serving as a prime example of that. But there is a lot to be said about the limited series’ provocative view of fan culture, and how such loyalty can turn into obsession. The producers of “Swarm,” a new Amazon series co-created by Donald Glover and Janine Nabers, have issued a “Do not spoil” list that precludes detailing much about the show beyond the fact the seven episodes were shot in color.
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