Thanks to the recent success of Jordan Peele’s Get Outand Us, Black horror has become a force to be reckoned with in the horror genre. The subgenre has always been there, but not taken seriously outside of the mainstream horror audience and academics alike. Although there were several pieces written about black inclusion, or lack thereof, throughout the years. A quick Google search for “Black Horror” pulls up a lot of these pieces, as well as suggested watching lists that chronicle not only black participation in horror, but the history of black horror itself. However, when you do a quick Google search with the terms “Black gay horror,” you will find little to nothing concerning the black queer experience in horror.
The category for Pose is icon. Its impact cannot be adequately measured even by gushing reviews or spiked ratings. By its second season Pose set a series of milestones including television's largest transgender cast (MJ Rodriguez, Indya Moore, Dominique Jackson, Angelica Ross and Hallie Sahar), the first Black trans woman TV writer/producer Janet Mock, and last night’s historical Emmy win for Billy Porter, the first openly gay Black man to be nominated for and win lead actor in a drama category.
On June 5th, 2019, Netflix dropped the fifth season of its dark anthology series, Black Mirror, to eager audiences, myself included. Due to a new job and other extraneous forces, though, I couldn’t devour the three-episode season in one sitting like I would with previous ones. However, the episode titled “Striking Vipers” kept popping up in many of my remaining social media feeds, provoking in-depth discussion among those who had seen it. When I did finally get to the episode, I was left with metaphorical blue balls at what had just transpired on my screen.