The Black Guy Dies First: Black Horror Cinema from Fodder to Oscar – Robin R. Means Coleman and Mark H. Harris
More "The Hollywood Reporter" than academic treatise, “The Black Guy Dies First” is a horror aficionado’s dream, providing a well-researched and highly accessible read for cinephiles and casual genre fans alike.
Robin R. Means Coleman and Mark H. Harris lean into their respective expertise — academic and journalist — to explore the evolution of Black representation in horror, organizing their insights around themes, tropes and industry trends that often mirror shifting racial attitudes in America.
The book covers a broad spectrum of topics, from the infamous "Black guy dies first" trope — traced back to “Spider Baby” — to the 1968 turning point in horror with “Night of the Living Dead,” which featured color-blind casting.
It dissects Black horror subgenres, tracing the resurgence of socially conscious horror in the late 2010s — thanks to “Get Out” — back to the 1970s Blaxploitation era. The authors recount outlandish plots while drawing parallels between past and present narratives of racial injustice.
Other subgenres, such as "hood horror" (“Candyman”), racial reckoning (“Antebellum”) and horror-comedy (“Scary Movie”), are examined alongside case studies of often gratuitous Black character deaths, such as Scatman Crothers’ fate in “The Shining” — a character who survives in the book but is killed in Stanley Kubrick’s film.
There is frequent discussion about the problematic elements in well-meaning films helmed by white creators, such as “The People Under the Stairs” and “Candyman,” juxtaposing them with Black-directed horror like “Tales from the Hood.” A deep dive into the “Purge” series — one I’ve admittedly avoided — revealed an eerie prescience in reflecting current societal anxieties.
The authors also examine the role of Black religion, particularly voodoo, in horror films, noting how these stories often focus on white protagonists exploiting local mysticism while ignoring real struggles. Surprisingly, Wes Craven’s work features prominently. Though often regarded as progressive, his films — “The People Under the Stairs,” “Vampire in Brooklyn” and “The Serpent and the Rainbow” — lean on outdated stereotypes despite good intentions.
A chapter dedicated to comedy in Black horror critiques the "spook" trope while acknowledging its cultural significance. While I enjoyed the humorous and insightful lists — from the Black actor most frequently killed (the late Tony Todd) to the highest-grossing Black-led horror films (“I Am Legend”) and worst hip-hop songs in horror films (I disagree with the inclusion of Hammer’s “Addams Groove”) — these sections can feel repetitive, especially in audio format.
A standout discussion examines Black queer representation, particularly the villainization of lesbian characters as promiscuous and gay men as flamboyant. This analysis highlights how mainstream films, regardless of their supposed progressiveness, often pigeonhole Black queer characters in reductive ways. If you’re particularly interested in the queer/horror intersection, I highly suggest reading “It Came From the Closet.”
As a nonfiction work, this is both entertaining and occasionally slight — sometimes scratching the surface of major issues without fully unpacking them. The authors touch on the responsibility of white creators handling Black stories and the fine line between appropriation and celebration but often stop just short of profound conclusions.
Despite occasional repetitiveness, the book offers a fresh perspective for horror lovers, prompting readers to revisit, discover or avoid certain films. More importantly, it encourages a critical eye toward representation — who tells the stories, how they are told and who benefits. Rather than advocating for rigid gatekeeping, Coleman and Harris argue for respect and authenticity in storytelling.
The audiobook, narrated by Jamie Lincoln Smith, is a solid option, though the long chapters and frequent lists can wear thin. Still, his engaging delivery helps maintain momentum even when certain topics overstay their welcome.
Rating (story): 3.5/5 stars
Rating (narration): 4/5 stars
Format: Audiobook (library loan)
Dates read: February 1 – February 7, 2025
Multi-tasking: Good to go. While it’s easy to zone out a bit during the long chapters, Smith does a good job of moving things along and sustaining high energy.
