Why The “Black Museum” Episode of ‘Black Mirror’ Is The Holy Grail For Black Women
Season 4 of Black Mirror is currently lighting up Netflix — and as hard as it was to take to my sweet time indulging in the bag of goodies — I managed to prophetically save the best for last.
The entire season was pretty yummy with the exception of “Arkangel” which failed to deliver the zing that is usually associated with the jarring endings. USS Callister was by far the best of the lot and “Hang the DJ” is just as good and presents a legit toss up between the two.
However, the one and only love for this Black woman has to be the final offering — “Black Museum.”
It’s all about the complex threshold for pain and loss — that can be designed to fuck up our senses when we submit to the tempting alternatives — that eventually evolve into a state of consciousness that imprisons and deceives — while withholding the option of freedom.
Our heroine Nish is a Black woman with a fantastic accent and a body that won’t quit. She’s not “kinda Black” or “ambiguously contrived” — which is a refreshing turn — and quite frankly exactly what I needed to silence the deafening applause for #FamilyFeud — that prominently features women that look nothing like me.
Episode 6 starts off with Nish taking a break from a road trip and walking into a freakishly installed warehouse that is owned by a sinister “mad scientist” — Rolo Haynes who eagerly receives his unexpected visitor and proceeds to give her the tour of a lifetime.
Each item in the museum has a background that leaves the listener with chills that could make the unbearably hot environment feel like an over-charged freezer. But, Rolo is the curator of this shit show and he’s used to the high temps — except he does need some relief — which Nish provides — via a water bottle.
After enduring the horrific tales from a “ neurological research recruiter” who used his talent to manipulate victims into his torturous lair of eternal banishment — in an effort to fulfill his devilish appetite through his prized collection of bizarre artifacts — Rolo Haynes directs Nish to his final masterpiece.
A hologram projection of Clayton Leigh — a Black man and wrongly convicted murderer that Rolo previously approached with cruel intent — is unveiled — and almost immediately — it’s clear that Nish has a strong connection to the almost crumpled figure in the glass chamber.
Rolo proceeds to give her the run down of his most valuable possession.
He successfully convinced this convict that signing over his “post-death consciousness” after his appointment with the electric chair would provide a blissful existence in an alternate form.
However, things didn’t work out that way and Rolo enthusiastically paints the graphic picture of how his absolute fuckery leads to Clayton’s transformation into a hologram — where he serves as the main attraction for sadistic visitors (mostly wealthy White men) — who are willing to pay just about anything to partake of the “electric chair simulation” — that allows bolts of ecstasy each time they pull the lever and watch Clayton scream in agony.
Nish patiently accommodates Rolo’s heightened state of excitement and then the best scene ever unfolds as we watch Rolo react violently to the contents he digested from the water bottle — as Nish calmly explains why she dropped by and how she intends to exact vengeance on her father’s torturer.
“Black Museum” turned out to be my holy grail for many reasons.
I couldn’t resist casting myself as Nish and visualizing the scenario where I’m able to release innocent Black men like Kalief Browder — from the chains of a system that is programmed to secure the lifelong banishment of those who’ve been targeted for premature extinction.
The satisfaction of watching a Black woman tactfully execute the blueprint of revenge without missing a beat — and with the authority of brains and physical prowess — gave me the level of pride and joy that is tragically regulated to sporadic moments that are few and far between.
The good news is that Black women don’t need a cape, lasso, magical bracelets or any ordained ornaments to get the job done.
Bree Newsome pretty much proved that fact back in 2015 when she heroically scaled a 30-foot pole and accomplished the mission of taking down a Confederate flag that was housed on the grounds of the South Carolina State House.
I need the spirit of Nish when I fantasize about giving Megyn Kelly a syrupy taste of her own medicine when I recall how she cowardly declared that Sandra Bland deserved to be forcibly removed from her vehicle — and pummeled to the ground by a state trooper — who was uncontrollably pissed at the notion that he was being outsmarted by a Black woman who possessed common sense.
Megyn Kelly On Sandra Bland Case: "Even If You Know The Cop Is In The Wrong, Comply And Complain…
Megyn Kelly On Sandra Bland Case: "Even If You Know The Cop Is In The Wrong, Comply And Complain Later"
Watching Nish ride off into the sunset with the badge of victory left me with a renewed sense of the warrior spirit that has never let up — ever since I was privy to how America relentlessly encapsulates Black victims into copies of screaming souvenirs that entertain White America to the point of boredom.
“Black Museum” is the reflection of Black America and the heroines are working hard to asphyxiate the wires of connection — that require the badass disposition that Nish so valiantly displayed without looking back.
Erica Garner is still kicking ass — and will continue to do so through me and all the other assigned prototypes that go hard for the men and women who were born to provide orgasmic mood swings for White supremacists in positions of power — who will be caught unawares when their time of reckoning is at hand.
And when they need to be quenched from the thirst of their manmade hell holes — we will surely be there to relieve them.