The finale of Donald Glover's Amazon horror-comedy about a deranged pop stan left much open to interpretation. judyberman breaks down the ending of the show
, as the Carters. Rashida needs a ride home with her roommate, a blackout-drunk white woman, which Tony, who has been sleeping in his stolen hatchback, eagerly provides. Once they’ve dumped the roommate in the bathtub to sober up, Tony and Rashida get to know each other. After a false start in which Rashida reveals that she hates Ni’jah and he pulls away, they reunite just as Tony loses his car and seem to fall in love.
What’s notable about Tony—aside from the gender transition, obviously, which I’ll come back to—is how relaxed he seems. Rashida observes that he’s calm enough to make a good medical student—or, she teases, serial killer. As the season has progressed, we’ve watched the initially creepy, unsettled Dre grow ever more comfortable and even socially savvy as she’s blossomed from repressed stan into self-actualized murderer.
But the domestic bliss can’t last. Rashida effectively signed her death warrant the first time she spoke ill of Ni’jah. So of course she winds up dead on her beloved Anthropologie couch, after refusing to accompany Tony to a Ni’jah show on the night of their anniversary and blowing up at him for spending rent money on such pricey tickets. The last time we see them together, Tony falls asleep embracing Rashida’s dead body.
And then there’s the performance itself. Tony pushes to the front of the crowd, drifts onstage, and is grabbed by security guards. “Stop. Let her go,” says Ni’jah, whose body is unchanged but whose face is now that of the late Marissa. “Sing for them,” she urges Tony. “Don’t be afraid.” “I love you all,” Tony manages to mumble. With some silent encouragement from Ni’jah, the crowd roars its approval. She and Tony exit the venue huddled together, as fans scream and flashbulbs pop.
Whether or not these scenes are the dream Tony has while sleeping on his girlfriend’s lifeless body is not, ultimately, so important. They are already part of a fiction within the world where Loretta’s documentary is reality, which is in turn a fiction within the real world where you, I, and all other viewers ofexist.
Belgique Dernières Nouvelles, Belgique Actualités
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