Television series

Them

Other titles called Them: the 1954 film, the 2006 film.

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.

TVMaze rating3.3

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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.

Lovecraft Country poster

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.

The Haunting of Hill House poster

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.

Candyman poster

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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.

Mulholland Drive poster
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.

Get Out poster

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.

His House poster

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.

The Haunting of Bly Manor poster

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.

Master poster

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.

Bad Hair poster

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.

Suspiria poster

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