” leans into its artifices for their symbolic power. In “Master,” however, Diallo, who also wrote the script, deploys horror tropes to reveal hidden realities while also exposing the commonplace abuses of fantasy as useful self-deceptions and craven lies, in life and art alike.
From the start, Jasmine endures textbook microaggressions from Amelia and other white classmates, such as when there’s a spill on the floor and Amelia orders Jasmine to clean it, and when, at a party, a crowd of white students sing along loudly with a hip-hop song that uses the N-word. Returning to her dorm room, Jasmine finds her bed occupied by Amelia’s visiting friends; white classmates call Jasmine the names of such Black celebrities as the Williams sisters and Nicki Minaj.
Among her new peers in the school’s administration, Gail gets similar treatment, and becomes unnerved by it. One colleague likens her to Barack Obama, and another tells her that she adds “flavor” to a party. Gail digs up more racist archival materials in the house, along with an infestation of maggots that manifests like a sign of secreted death. Ancaster’s race-centered tension does more than jangle the nerves of Black faculty and students—it sets them against one another.
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