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Dominique Fishback plays the world’s biggest and deadliest Beyoncé superfan in “Swarm,” a blood-spattered pop culture provocation from co-creators Janine Nabers and Donald Glover. Her Houston character Dre is ready to maximize credit cards for concert tickets, just as she is ready to execute online trolls to defend the honor of celebrity. Just for lawful reasons, Dre is passion with singer Fishback, which is actually called Ni’jah (Nirine S. Brown) in this limited Prime video series, not Beyoncé. But the first words before each episode, as aggressive as other things in this series, limited to her face, say a lot: “This is not fiction. Any resemblance to real, living or dead people or real events is intentional.”

Nabers, Glover and their team of ambitious writers have very few reservations about their references, and the series plays out like a funny mirror, reflecting very real, but bizarre, fashionable topics of the recent past. A member of the rabid fan community that exists on every notable social media platform, Dre can be known for striking dissidents, doxing them, and appropriating their stars’ feuds. Sure, there are a lot of fan bases, but the explicit specificity of “crush” for Beyoncé fans makes it all the more biting. And the indescribable course of the events of the series becomes all the more wild, as ” Swarm “about the” Who bit Beyoncé?”Scandal of 2018 or refers to the powered dislike of the group for the good-haired Becky.

 

“Swarm” paves the way with a great pilot episode, in which the sound zigzags from one unpleasant moment to the next. First, it’s about watching Dre open a new credit card just so he can buy overpriced concert tickets; after, it’s the haunting and terribly sad events involving his roommate, Ni’jah’s superfan Marissa (Chloe Bailey). The show ends with its first act of mind—bending execute, set up with a vivid cinematography by Drew Daniels that makes it even more impossible for “Swarm” to look away-a camera slowly crawling and spinning around a room. Much of the series will focus on Dre navigating various living spaces and acting like Henry in “Henry: Portrait of a Serial finisher.”Dre’s love for Ni’jah makes everyone else’s life secondary; it gives execute a meaning.

While the series progresses several months at a time with each episode, “Swarm” is characterized by a robust aesthetic that is made possible by filming on film: saturated colors make the spilled blood appear even redder, and the grain of the film provides a perfect texture for Dre’s visceral actions. The directors of the series, Donald Glover, Adamma Ebo (“Horn for Jesus. Save your soul.”), Ibra Ake and Stephen Glover, establish a sonic idea of this well-founded but bizarre sound, complemented by a rich soundscape. In the sometimes deliberately campy fashion of the show, he will be making buzzes of himself when Dre reinforces the next powered act. But Michael Uzowuru’s score is a bigger addition to the soundscape, complementing bizarre scenes—a remarkable track at the end of an emotionally intense homecoming episode sounds like a melodic dial.

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