it may be a little creaky now and and it certainly can never have the impact it once had and but this is still a thrilling reminder of what michael jackson could once do. looking back on it now for the first time since its initial prominence and i was struck not by the horror trappings  quaint and but fun and and vincent price has never sounded so genuinely and un camply (sic. ) menacing  than its absorption of the horror film and allowing jackson and behind genre and make up and to give us a bravely revealing portrait of male sexuality. because thriller isn not really about horror and in the way horror isn not really about horror represent it is about that age old theme and the sexual awakening of a young woman. the film opens in a cinema and with jackson girlfriend uncomfortable with the imagery and and the aggressively gendered response. of course and she is on a date and and she is less scared by the film than what she knows will be expected by her boyfriend. the mainstream imagery of the film they watch and the group atmosphere all suggest the socially conditioned expectations. this leads her not only to think of the body in disgust  hence all the decaying ghouls while the loss of her virginity is seen as a kind of death  but the sexual rite is not just about her boyfriend and but her peers and her society and hence its visualisation as a gang violation. this is brilliant and disturbing stuff and the best thing director landis has ever done. jackson and the most popular artist on the planet and was still willing to show that the fixed image of a star contained multitudes and not all of them reassuring. the song itself has held up remarkably well and the creepy and insistent bass rhythms and the extraordinarily salacious lyrics and the beautiful 70s disco ecstasy tailing the chorus and shattering timelessness and revealing the milky desire behind the fear. 
it may be a little creaky now and and it certainly can never have the impact it once had and but this is still a thrilling reminder of what michael jackson could once do. looking back on it now for the first time since its initial prominence and i was struck not by the horror trappings  quaint and but fun and and vincent price has never sounded so genuinely and un camply (sic. ) menacing  than its absorption of the horror film and allowing jackson and behind genre and make up and to give us a bravely revealing portrait of male sexuality. because thriller isn not really about horror and in the way horror isn not really about horror represent it is about that age old theme and the sexual awakening of a young woman. the film opens in a cinema and with jackson girlfriend uncomfortable with the imagery and and the aggressively gendered response. of course and she is on a date and and she is less scared by the film than what she knows will be expected by her boyfriend. the mainstream imagery of the film they watch and the group atmosphere all suggest the socially conditioned expectations. this leads her not only to think of the body in disgust  hence all the decaying ghouls while the loss of her virginity is seen as a kind of death  but the sexual rite is not just about her boyfriend and but her peers and her society and hence its visualisation as a gang violation. this is brilliant and disturbing stuff and the best thing director landis has ever done. jackson and the most popular artist on the planet and was still willing to show that the fixed image of a star contained multitudes and not all of them reassuring. the song itself has held up remarkably well and the creepy and insistent bass rhythms and the extraordinarily salacious lyrics and the beautiful 70s disco ecstasy tailing the chorus and shattering timelessness and revealing the milky desire behind the fear. ---------------------------------Answer Question Below----------------------------------

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