The object of fascination in “Swarm,” Donald Glover and Janine Nabers’s new horror-thriller series, is the ferocious devotion that a superstar can inspire.
You know Ni’Jah. Every last inch of her gleams: her hair, her eyes, her teeth, the beads and paillettes that shimmer with each hip thrust or arm swing, but, most of all, her skin. She looks the way royalty should. Her pronouncements, delivered in songs and music videos, move mountains. And, as with any queen, her domestic orbit is common knowledge: the rapper husband with the capitalist hustle and the wandering eye, their twins, the gifted but hopelessly overshadowed younger sister.
Forget Ni’Jah’s songs ; “Swarm” ’s aural signature is the crinkle of fast-food wrappers and potato-chip bags, along with the insect-like buzz that heralds Dre’s sudden onslaughts of violence. The series opens in the dingy Houston apartment that the fantasy-prone Dre shares with her former foster sister and sole friend, Marissa , a mall clerk and aspiring makeup artist who supports her financially. As young Black girls, Dre and Marissa bonded over their love for Ni’Jah.
Delirious and tense, the seven-part season is strongest in the early outings, when it’s unclear where Dre is headed and the writers more often buck plot conventions. Those episodes also suffer less from the series’ tonal messiness; we’re allowed a perverse satisfaction in Dre’s semi-sympathetic antiheroism.
The Trump-era revisit proves fruitless, and the glance backward jibes awkwardly with the freshness of the talent assembled. A feline Billie Eilish has a notable role as an amateur hypnotist hoping to recruit Dre into her hippie-twee white-girl cult, and Kiersey Clemons injects a bitchy aliveness that becomes crucial to Dre’s character arc. Most delightfully, Paris Jackson enjoys a mischievous bit of stunt casting, playing a wannabe Thelma to Dre’s Louise.
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