In the brand new series “Kindred,” there comes a moment when a bedridden baby (David Alexander Kaplan) musters the energy to call his caretaker the N-word. The mere act is jarring — however what startles yet greater is that the girl he’s addressed speaks up for herself. Dana, the protagonist of “Kindred” (Mallori Johnson) has been magically sent from the current day returned to a 19th-century plantation. Her feel of her rights coexists uneasily with the sector into which she’s been thrust.

Adapted from Octavia E. Butler’s novel, “Kindred” makes a case for itself in a by way of-now overstuffed genre. Exploitative projects like Amazon’s series “Them” or the film “Antebellum” have appeared at times to be trading on Black trauma, giving capability viewers motive for hesitation. Certainly, every other Amazon show, the magisterial “The Underground Railroad,” appeared like a capacity ultimate phrase close to America’s tragic history of human enslavement for a while. But as tailored through the playwright Branden Jacobs-Jenkins, “Kindred” is a sharp exploration of records, countrywide and personal.Dana comes into awareness unexpectedly: In the current, she’s a girl who includes ghosts, person who can’t get out from under a sense of loneliness at having lost her mother. She spends her days looking “Dynasty” with the intention to crack what makes its stories paintings, so that she, too, would possibly turn out to be a screenwriter; she’s attracted to the self assurance of Diahann Carroll. And, feeling alienated, she’s drawn, too, to a waiter she meets when dining at a restaurant; Kevin (Micah Stock) will become her partner as she jumps via time.

Which way that he, a white man, is pressured to play her owner; Ryan Kwanten, as Tom Weylin, encounters the two twenty first-century Americans and reads them as slave and owner. Weylin is a brute, however one sees within Kwanten’s overall performance some thing else as nicely. He is definitely befuddled that his slaves don’t see him as a protector. Weylin is acting out the rituals of violence out of a fundamental loss of imagination, a stubborn insistence on his right to dominance justified through his knowing no different manner.

And so modernity acts as a shock both to the plantation, in which Dana introduces liberatory thoughts, and to the proprietor of the house in which Kevin and Dana are stranded. And Weylin responds with violence. Late in the collection, he lashes out in a brutal whipping scene; transported back home, Dana refuses to expose worried law enforcement officials her accidents. The collection is denying us that toxic component narratives of American slavery often indulgently dole out, the depiction of wounds and of scars for their own sake. Johnson’s performance — an astoundingly accomplished piece of labor for an rising display actor currently graduated from Juilliard — crisply contains across what Dana has suffered.

The factors of the series referring to the specifics of Dana’s own family records can develop knotty for a viewer who hasn’t yet study Butler’s novel; Johnson makes the character so vibrant that the complications around her can at instances experience ancillary. It’s in Dana’s dating with the worlds around her, old and new, that the show feels maximum alive. In her normal life, Dana feels remoted. And “Kindred” very effectively excavates wherein, for a Black woman in a racist u . S . A ., that experience of no longer belonging might be rooted.