Television series
Them
Other titles called Them: the 1954 film, the 2006 film.
- Horror
- Very dark
Them is a horror anthology that weaponizes the domestic space against a Black family in 1950s Los Angeles. It's visceral and deliberately uncomfortable, blending supernatural terror with the historical horror of systemic racism. For viewers who want their scares to mean something, who understand that the most effective horror often reflects real dangers.
If you liked this
Lovecraft Country2020
Cosmic horror meets Black American experience with style, intelligence, and genuine scares. It refuses to separate the supernatural from the social, making monsters of both kinds matter equally.
But Ends on a cliffhanger that never resolves—the show was cancelled after one season, which stings if you're invested in the story.

The Haunting of Hill House2018
Ghosts are character, not just jump-scares. This series builds dread through family trauma, grief, and the way a house can become a mirror for what's broken inside us.
But Slow-burn pacing; the scares are psychological rather than immediate, so it demands patience and emotional availability.

Candyman2021
A masterclass in horror as social commentary. It digs into myth-making, gentrification, and how terror lives in institutional systems, not just supernatural entities.
But More cerebral than visceral; if you came for straightforward slasher thrills, you might leave unsettled by ambiguity instead.

Not sure tonight? Get a pick in a minute, starting from Them
The wildcard
Something you would not have found on your own.
Mulholland Drive2001
Both are Los Angeles nightmares where location is weaponized. Them uses the house; Mulholland Drive uses the city. Both understand that California promises one thing and delivers another.
Lynch transforms Los Angeles itself into a character—a dreaming, malevolent city where ambition and reality fracture. The horror isn't supernatural; it's existential and architectural. Unforgettable.
But Deliberately cryptic structure; it doesn't explain itself, and rewatching might still leave you without answers. Some find that liberating, others infuriating.

More like this (6)
Get Out2017
Horror as diagnosis of a specific American disease. Funny, terrifying, and structurally perfect—a film that knows exactly what it's doing and executes it flawlessly.
But If you've already seen it, there's no discovering it again. The twist is the point, and knowing it diminishes the experience.

His House2020
A refugee family is haunted by trauma—both supernatural and systemic. Gorgeously shot, genuinely frightening, and refuses easy answers about safety or belonging.
But Heavy subject matter blended with body horror. Not a comfortable watch; it's meant to unsettle you on multiple levels.

The Haunting of Bly Manor2020
Gothic romance bleeding into tragedy. It's more melancholy than terrifying, but the atmosphere is thick enough to drown in, and the emotional payoff is devastating.
But Shifts tone significantly from its predecessor. If you wanted another Hill House, this is a different animal—slower, sadder, less interested in scares.

Master2021
An elite college becomes a character itself as systemic racism festers beneath institutional charm. Darkly funny, disturbing, and uncomfortably specific about racialized paranoia.
But Ambiguous ending that some read as nihilistic. If you need resolution or catharsis, you might leave frustrated.

Bad Hair2021
Body horror as commentary on colorism and Black beauty standards in 1980s New York. Weird, darkly comic, and genuinely strange in ways that linger.
But Tonal shifts can feel jarring; it's part satire, part grotesque, and doesn't always cohere. The horror is often absurdist rather than grounded.

Suspiria1977
Both use domestic spaces (home, school) as sites of supernatural invasion and corruption. Both understand that safety is the illusion the horror penetrates.
Italian supernatural horror as pure visual and sonic assault. A young dancer arrives at a prestigious academy and discovers something ancient and malevolent. Baroque, hypnotic, genuinely alien.
But Deliberately artificial in style—saturated colors, operatic score, deliberate artificiality. If you want grounded realism, this is the opposite. Also, it's 1970s, which matters.

People
Cast
Writing
- Little MarvinCreator
- Christina HamExecutive Story Editor
- Francine VolpeExecutive Story Editor
- Korde TuttleStaff Writer
Production
- Lee FrostAssociate Producer
- Liya GaoAssociate Producer
- Seth Zvi RosenfeldCo-Executive Producer
- Brian WankumCo-Producer
- Dustin BernardCo-Producer
- David MatthewsExecutive Producer
- Don KurtExecutive Producer
- Larysa KondrackiExecutive Producer
- Lena WaitheExecutive Producer
- Little MarvinExecutive Producer
- Miri YoonExecutive Producer
- Nelson CraggExecutive Producer
- Roy LeeExecutive Producer
- Dominic OrlandoProducer