The tombs start to move. The living dead, dressed in tattered clothes, emerge from their graves. The couple is encircled. Suddenly, Michael becomes the head of the group of zombies. He turns green, and his beautiful jacket bursts open. From this moment on, the music video industry will consider this dance style, with performers lined up, the new standard. Its permutations might have varying aesthetics, but the concept begins with Thriller. When he sings, Michael is no longer a zombie; his Star Trek-style jacket is mended, and his red jeans are clean and pressed. It is as if singing restores his life. Then, the zombies become more menacing. The girl seeks refuge in a house that resembles the one in Alfred Hitchcock's Psycho. Michael becomes a zombie again. The living dead bang on the door of the "castle." They break the walls and infiltrate. Michael demolishes a door with his bare hands. The girl is cornered, terrified. She screams. Then, she wakes up in a bourgeois setting, with Michael in front of her. He is no longer gaunt like a zombie. Again, it was nothing but a dream! Now, M.J. gets ready to accompany the girl home. When he turns toward the camera, he has the yellow eyes of the werewolf that appeared at the beginning of the film they were watching. Freeze-frame. There are six key sequences in Thriller to note: 1) "Out of Gas" (00:00 to 02:07) 2) "The Werewolf" (02:07 to 03:39) 3) "Only a Movie" (03:39 to 08:23) 4) "Michael is a Zombie" (08:23 to 11:44) 5) "Wake Up" (11:44 to 11:54) 6) End: "Michael was a Werewolf!" (11:54) The video plays on several dichotomies: human/ animal, living/dead, good/bad, and real/fictional. The combination changes with each plot developments. Thus, in the beginning of the clip, Michael transforms from a "good human" into a "bad animal," and so forth. The OK, it was only fiction! and the No, it was real! assertions push the viewer to continuously think back on the film. Is it reality or fiction? One never knows where one is. Everything moves too quickly.
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