American Anime in 2026

I read through some of the older parts of this blog recently, and I realized that I'd spent quite a few entries talking about the bumpy attempts of Hollywood to reckon with the popularity of anime, which are not unlike their bumpy attempts to reckon with the popularity of gaming.  There were so many plans for adaptations of titles like "Akira" and "Neon Genesis Evangelion" that all fell through, but there were a few successes too, like the recent "One Piece" live action series.  It's been a few years, so I thought these posts deserved an update.  Also, "Naruto" is next in line for an attempt, with a live action film adaptation directed by Daniel Destin Cretton currently undergoing a casting search.  So, this topic is back in the popular consciousness again.

The influence of anime on the American youth shows no sign of slowing down, though all the popular titles are different since I was an otaku twenty years ago.  The new "Demon Slayer" movie crossed $100 million at the North American box office last year, the latest in a steady string of animated hits from overseas.  Former anime pirate site Crunchyroll is in the top ten US streaming sites by subscriber count, with over 20 million subscribers.  Netflix, the home of the "Castlevania" franchise, has become a major driver of anime production, with 50% of their viewers reported to be watching anime on the platform.  They recently announced a partnership with MAPPA, the studio behind "Chainsaw Man" and "Jujutsu Kaisen," which has sparked a lively debate about the potential threat of the streamers to the Japanese production committee system that produces most anime, as well as physical media and appointment viewing - a bigger deal in the anime world than in other parts of the media landscape.

American creators have been trying to capitalize on the popularity of anime through co-productions with anime studios for a long time, but the results were often very hit-or-miss.  Early attempts like "Afro Samurai" and "IGPX" didn't quite work, probably because of mismatched expectations and the unfamiliarity with the different production cultures.  After a few decades of experimenting, it's gotten better.  This summer the third season of the "My Adventures With Superman" cartoon and the new "Avatar: the Last Airbender" movie, both heavily anime influenced, hit the streamers.  One was animated in Korea and the other largely in Australia, but they both clearly had roots in shonen anime.  It's not just the designs or the animation style that made these projects work, but the use of anime visual language, character tropes (genki girl Lois Lane), and storytelling choices that have become familiar to global audiences.  "Star Wars" and "Scooby Doo" are also on the list of franchises getting the anime treatment.  "The Ninth Jedi" will probably be out by the time this is published.  There are still regular stumbles, however.  "The Lord of the Rings: The War of the Rohirrim" feature film was a bad match of IP and anime aesthetic that didn't manage to appeal to anybody.

A culture shift has definitely happened.  Most of the people working in animation now grew up on anime, or are at least much more familiar with anime than they were in the '90s.  You don't see many conspiracy theories about Western shows stealing from anime these days - the homages are everywhere and they're proudly highlighted by their creators.  I'm of two minds about this.  On the one hand, I'm absolutely convinced that the boom in Western animated shows being made for YA and adult audiences owes a lot to the influence of anime.  "Arcane," "Blue Eye Samurai," and so many more great series wouldn't exist otherwise.  However, I've also seen some of anime's bad habits migrate to Western animation too, particularly in the projects that are really trying to go after the anime audience.

Personally, I'm taking it slow with anime.  I watch a series or two a year, and even if I enjoy them, I don't feel the way I used to when I was watching anime in my twenties.  I'm out of the target audience for the popular stuff, and a lot of the old tropes don't work for me anymore.  And, boy are the old tropes still in circulation.  The "Demon Slayer" and "Chainsaw Man" movies did not make me want to track down more.  Still, nostalgia and old habits compel me to keep a friendly eye on the anime world.  And every once in a while you can still find a "Frieren: Beyond Journey's End."  But more on that another time.

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Getting Through "Disclosure Day"

Spoilers ahead, but the big ones will be clearly marked.

"Close Encounters of the Third Kind" is my favorite Steven Spielberg movie, and one of my favorite movies period.  When I learned that Spielberg was making a new movie about aliens and conspiracies, I was excited but also full of trepidation.  I haven't connected to many of Spielberg's most recent films in the last few years, especially the genre efforts like "Ready Player One" and "The BFG."  Was "Disclosure Day" going to have any of the old Spielberg cinematic magic from his older classics?  Was I simply too old and jaded?  Were his filmmaking sensibilities now too nostalgia-driven and schmaltzy for me?

I'm sorry to report that "Disclosure Day" is a deeply mediocre effort for a Spielberg film, one where every issue I've ever had with Spielberg's work feels magnified.  As advertised, "Disclosure Day" is about a group of people trying to reveal the truth about alien activity on earth.  It turns out that all significant evidence and information about aliens is being suppressed by a government contractor, Wardex, led by the ruthless Noah Scanlon (Colin Firth), that has grown into a malignant, unchecked entity with too much power.  One of the employees, a cybersecurity expert named Daniel Kellner (Josh O'Connor), steals information with the intent to release it to the public.  He and his girlfriend Jane (Eve Hewson) go on the run, with help from another Wardex defector, Hugo (Colman Domingo).  Meanwhile, a Kansas City weather lady, Margaret Fairchild (Emily Blunt), mysteriously starts speaking in different languages and displaying strange powers.  She and her skeptical boyfriend Jackson (Wyatt Russell) also start being chased by Wardex operatives.

Written by David Koepp, who has often collaborated with Steven Soderberg in recent years, "Disclosure Day" feels like a film of a much older, less cynical era.  There are earnest declarations of wild concepts ("sometimes they take the forms of animals"), plot holes everywhere you look, and big, important questions raised without much expectation of trying to answer them.  Most of the plot boils down to getting characters from point A to point B, juggling Macguffins, and getting into improbable action set pieces.  And some of those action set pieces are very good, like one involving a car getting dragged alongside a train.  An extremely effective suspense sequence in the first act involves Scanlon using a mysterious device to eerily interrogate and control Jane from a distance.  Spielberg has always been good about creating images we haven't seen before and I loved some of the individual shots here - soldiers crashing through an invisible window, or a throng of camera lights through a windowpane looking like a starfield.

However, the storytelling is often very heavy-handed, with every emotional beat underlined by a far too noticeable John Williams score that is not doing the movie any favors.  The main characters were so credulous in such a mannered way that it kept taking me out of the picture.  Every time Emily Blunt did a Jedi mind trick, I wanted to roll my eyes - not at her, but at the overly reverent presentation of it.  I sat through two hours of "Disclosure Day" knowing how every single scene would play out, admiring the committed work of all the actors and crew involved, but being completely emotionally unengaged with anything onscreen.  I was ready to throw in the towel and write this off as a handsome, well-intentioned disappointment.

And then the last fifteen minutes of the movie happened, and suddenly everything worked.  Here I will spoil the ending, because I can't talk about it unless I do.  The news broadcast production control room sequence, where we watch the footage being sent nationwide, is absolutely extraordinary.  Suddenly we're in a room full of strangers, reacting to this stream of images that everyone is seeing for the first time together.  The mood shifts.  An NBC news presenter played by Courtney Grace offers live commentary, her stunned and emotional reactions accompanying the montage of audience reactions we watch unfold.  And I realized Spielberg had orchestrated a beautiful moment of shared global viewership and unity that I hadn't felt in decades.  I knew it was fictional, but it hit me so hard.

Yes, there's a lot about the movie that doesn't make logical sense.  And it's unapologetically hokey and bright-eyed, and don't think that I didn't notice the cutesy "Snow White" references paralleling the "Pinocchio" ones from "Close Encounters."  But I had a Spielberg moment with this film, a real taste of cinematic wonder for the first time in I don't know how long.  And my head says the movie fundamentally doesn't work and is a terrible slog, and my heart says that the last fifteen minutes was still worth it.

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"Rick and Morty" Mellowed

It's been five years since I last posted an entry about "Rick and Morty," which was shortly after the fifth season wrapped up.  A lot has happened.  In fact, so much has happened that I keep forgetting that I haven't addressed any of it.  First, we should talk about the production changes.  Justin Roiland was fired from the show in 2023 after some legal troubles and a long history of misconduct.  Rick has been voiced by Ian Cardoni, and Morty by Harry Belden since the seventh season, and I honestly can't tell the difference.  The show's other creator, Dan Harmon, is still around, but has definitely taken a backseat.  Scott Marder has been the only credited showrunner for a while and Harmon hasn't had a writing credit on any episodes since the third season.  Keith David's President Curtis also got a spinoff series, but I haven't gotten around to it yet.

However, "Rick and Morty" hasn't lost a step.  Arguably, it's improved since I last wrote about it in 2021.   If you haven't seen "Rick and Morty" in a while, the changes in the most recent episodes might take some time to notice, but they're there.  Rick is still an asshole, but he's more responsive to his family and genuinely seems to care about them now.  Morty has become a more assertive teenager who will not only stand up to Rick, but regularly has to be the responsible one to get them out of scrapes.  There's still plenty of guts and gruesomeness, but the nihilistic bleakness of the early seasons has been turned way, way down.  Happy endings are still rare, but there's no longer the feeling that the creators are being mean to the characters just to be mean to them.  Back in the fifth season, I remarked that it felt like the show was growing stale and running out of ways to shock us.  In the ninth season, it's clear that they're no longer trying.  

Despite the show's initial reluctance, we've now seen pretty much all of Rick's past and complicated relationships with his wife and daughter.  And Rick, often in the most complicated and weird ways possible, has been slowly but surely processing some of his unresolved issues and improving his mental health.  A major recurring storyline involving an Evil Rick was resolved in season seven, forcing him to self-reflect and move on.  He's gotten to the point where he recognizes that many of his evil scientist coping mechanisms are self-destructive and will sometimes take measures to limit them.  He's also managed to maintain a much healthier relationship with Beth (and Space Beth).  This might initialllook like a situation where a once badass character has been defanged and Flanderized, but this has actually been a very well-considered character arc for Rick Sanchez, and I'd argue that it's paying off some valuable dividends.  

"Rick and Morty," for all its science-fiction chaos, is a family sitcom.  Many of the episodes regularly have A and B plots with different members of the family, and the humor is very character based.  Frankly, Rick works better as a sitcom character when  he's on a more even playing field with Morty and the rest of the Smiths.  Sitcoms also generally work better when everyone can return to something resembling a neutral status quo at the end instead of the kind of feel-bad, downer resolutions that stopped feeling innovative and daring by season three.  This means that a lot of the later episodes are silly and absurd and amount to the characters getting into a bunch of sci-fi enabled hijinks with no deeper meaning behind them.  And that works for "Rick and Morty" better than you'd think.  There's a recent kung-fu parody episode involving the Hawaiian Punch mascot, Punchy, that's just sublimely ridiculous. 

I also appreciate that the show has also moved on from some of its other early schtick.  I haven't seen Morty's crush Jessica (Kari Wahlgren) in a significant appearance in a couple of seasons.  Since Morty is now a hyper-competent, and much more self-assured character, who finally did go on a real date with her in the fifth season, Jessica doesn't serve much of a purpose anymore.  Kari Wahlgren went on to voice Rick's new love interest BugAnne instead.  He's clearly not ready for another relationship, but even a  friends-with-benefits sitch is a good sign.    

Frankly, the great thing about sitcoms was always that you got to know and care about  a group of characters over time.  And as that inevitably happened with "Rick and Morty," the show had to change.  I'm sure that many of the fans prefer the angrier, more subversive earlier seasons, but it wasn't something that was sustainable over a hundred episodes - and we're getting very close to that mark.  And "Rick and Morty" is doing just fine.    

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"Minions & Monsters" and "Backrooms"

I guess we're grouping the movies by color today.

I've had a contentious relationship with Illumination Studios' "Despicable Me" series.  Being frequently in the orbit of young children, I've watched nearly all of them over the years.  My tolerance of Gru has waned with time, but I always had a soft spot for the wacky little yellow minion guys, all voiced by Pierre Coffin speaking their own peculiar dialect made up of about 20% Spanish, 10% English, 10% Japanese, and 60% drunken karaoke vocalizations when you can't remember the words.  They're proper cartoon characters, who do all the physical gags and wild takes that are too often missing in the modern cartoon milieu.  And it kinda makes sense to let them pay homage to the origins of screen comedy.

In "Minions & Monsters," which has received the franchise's highest critical scores in a long time, they've spun off a group of new minions for a totally separate adventure set in the 1920s.  Among them are an artsy little storyteller who doesn't quite fit in named James, his best pal Henry, and their ASL-using friend Ed.  After multiple failed attempts to find a "big boss" who they can serve, this bunch lands in Hollywood during the silent film era.  After a few brushes with fame and fortune, James comes up with the idea to make his own monster movie, and to summon up some real monsters to star in it.  Hijinks with an all-star cast including Trey Parker, Christoph Waltz, Jesse Eisenberg, Zoey Deutch, and Jeff Bridges ensue.

Much has been made of all the classic film references that have been included in the "Minions & Monsters," from an opening sequence that sticks the Minions into early Edison and Muybridge film images, to a rollicking chase scene that manages to involve Charlie Chaplin, Buster Keaton, and Harry Lloyd, to Gort the alien robot from "The Day the Earth Stood Still" playing a major part in the third act.  As a film, however, it doesn't cohere together all that well.  The story is constantly switching gears from one thing to the next, and we're forever getting bogged down with digressions.  It takes too long for the actual story to kick into gear, and while the minions are great for individual gag and action sequences, the movie suffers for not having stronger protagonists.  "Minions & Monsters" is very watchable, but it's still very much a glossy entertainment aimed at small children, and it's best to go in with modest expectations.

On to "Backrooms," based on the web series of the same name created by Kane Parsons, and the famous internet creepypasta images that inspired a shared universe of dingy yellow liminal horror.  So, one day in the 1990s, a troubled furniture store owner named Clark (Chiwetel Ejiofor) discovers we can walk through a wall in the basement and enter a seemingly never-ending series of interconnected rooms where the rules of reality seem to have gone haywire.   For me, the appeal of "Backrooms" is all about the unsettling vibe of wrongness that comes about when spotting an imperfect copy or a missed glitch.   The best part of the film is the early scenes of exploration, where Clark makes his way through rooms with increasingly deranged architecture, containing collections of disturbing objects.  There are a lot of jump scares as some of the rooms' secrets are revealed, and the movie reportedly plays much better with an audience.

"Backrooms" reminds me of "Annihilation," despite bearing absolutely no resemblance to that film stylistically.  It's another one of these stories about exploring a strange forbidden zone, where some unknown force is making copies of places, objects, and eventually living things without really understanding anything about their function or purpose.  It would be a nice metaphor for anti-AI anxiety if "The Backrooms" were more ambitious.  However, director Kane Parsons is content to just unleash some scary monsters and have a few characters go insane.  The plot is secondary to the vibes, which works, but it's disappointing that actors like Ejiofor and Renate Reinsve, who plays therapist Dr. Kline, aren't given much to do beyond the usual funhouse scare sequences and a few bits of shallow psychoanalysis.  The imagery is memorable, though, and there are plenty of nightmarish concepts that might keep you up at night.

The moody vibe of "Backrooms" is enough to sustain this film, but if we travel back to this universe again in the inevitable sequels, Parsons is going to need more help to keep his audience's attention.

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Aging Into "DTF St. Louis"

It's hard to know where to start with "DTF St. Louis," the latest limited series from Steven Conrad.  The hook is that it appears to be a typical crime series at first, starting with an investigation into an unexplained death, spearheaded by Detective Homer (Richard Jenkins) and Officer Plumb (Joy Sunday).  Flashbacks take us into the lives of the three people at the center of the case: St. Louis weatherman Clark Forrest (Jason Bateman), his co-worker Floyd Smernitch (David Harbour), and Floyd's wife Carol (Linda Cardellini).  Clark and Floyd become friends, and then Clark meets Carol at a party, and they connect.  However, the situation is more complicated than it appears.  And the more Homer and Plumb dig into the lives and relationships of the trio, the less clear things become.

"DTF St. Louis" is named after the hookup app that Clark introduces Floyd to, reflecting the show's interest in what's going on with average people behind closed doors.  There's a lot of time spent exploring everyone's sexual needs and dysfunctions.  Floyd and Carol's marriage is on the rocks for various reasons, and Clark's interest in both of them takes the entire series to fully unpack.  It  feels wrong to put an explicit label on what  these relationships really are, but the most important one is definitely between Clark and Floyd.  Both of these men are middle-aged, lonely, and find themselves connecting with each other in a way that they haven't been able to with anyone else in a long time.  But though that connection is valuable to them, they don't understand what to do with it, and their attempts to use it to improve other parts of their lives, or to address other deficiencies, leads nowhere good.

I think it's reasonable to call "DTF St. Louis" a mystery show, since there is a mystery to unravel, and we do get an answer ultimately, but it's the kind that completely subverts its premise, and maybe the whole conceit of mystery shows in the process.  You could call this an erotic thriller - there's certainly enough sexually explicit material to justify this being on HBO, but it's rarely very sexy.  Impotence, embarrassing kinks, aging bodies, and bad encounters with potential hookups are major topics.  There's a whole episode where the detectives dig into the origins of a kitschy pornographic photo spread found at the crime scene, and what it might mean.  I've seen the show classified as a black comedy, but that doesn't feel right either.  There are some very funny moments and plenty of cringey material, but I found the treatment of the characters extremely empathetic and even heartwarming at times.  The tone of the show is very specific, intimate, and refreshingly nonjudgemental.  I like that it acknowledges that everyone involved here crosses the line in some way.  At the same time, it refuses to show them anything but sympathy, because their impulses are ultimately all very human and very familiar.     

So, I guess I'd call "DTF St. Louis" an offbeat sort of melodrama, occasionally straying into half a dozen other genres, about three middle-aged people trying to find love, and doing a terrible job of it.  The performances are all very, very good.  Bateman finds a nice balance between charming and being clearly guilty of something.  Linda Cardellini is wonderfully opaque, and learning more about her character's motivations never gives away her intentions.  However, I think it's David Harbour who comes off the best here.  Floyd Smernitch is such a loveable human being.  He's a positive, sweet man who only wants the best for everyone, but no matter how hard he tries he seems incapable of truly connecting with anyone romantically or sexually.  

And it's also a show about people of a certain age, dealing with all the little tragedies and changed expectations of being past your prime.  These stories come along more often now than they used to, which I'm grateful for, but it's still rare to see one this good, with this level of talent.  At seven episodes, "DTF St. Louis" struck me as just the right length, but I still found myself sad when it was over.  

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My Top 25 of the Last 25: Sitcoms

So, this one is the list I feel the least qualified about writing because I've largely stopped watching sitcoms over the years since I abandoned linear network television.  However, I've dutifully gone back and sought out several of the series below recently, and I want to talk about them.  Sitcoms have diminished with the rise of the streamers, but by every metric they still make up a huge amount of the media we regularly consume.  I feel I'm writing this list in part to also spur myself to give more of these shows a chance in the future.

As with all the lists in this series, there are twenty five entries, but only the top ten get writeups.  I caution that there's a thin line between sitcoms and comedy series with an ensemble cast, and I'm probably going to make some categorization errors.  No "Extras," but I'm totally counting "Rick and Morty."

30 Rock (2006) - I have a strong bias towards NBC's "Must See TV" lineup and I always have.  "30 Rock," however, was one that I really had to warm up to over time.  I didn't become a fan until years after the show had stopped airing, and I made a conscious decision to binge large amounts of it at once.  And it was worth it.  "30 Rock," more than any other sitcom, has influenced the patter and pacing of modern TV comedies.  And I'm glad that Tina Fey is still making them to this day.

Arrested Development (2003) - The first three seasons, created by Mitch Hurwitz, comprise one of the best run of television episodes that has ever been made.  It's so specific in its idiosyncratic humor and wonderfully intricate web of escalating wordplay, running gags, odd characters and references that there's absolutely nothing else like it.  And this is also the show that supercharged the careers of Jason Bateman, Will Arnett, Alia Shawkat, Tony Hale, and several other favorites.  

The Good Place (2016) - A high concept comedy about the afterlife from Michael Schur that gradually morphs into something much more existential and interesting over the course of its four seasons.  As Kristen Bell's Eleanor Shellstrop struggles to become a good person, the show earnestly explores philosophical concepts and systems of belief, culminating in one of the best series finales of all time.  Manny Jacinto as Jason is also my favorite sitcom dumbbell in ages.  

Futurama (1999) - Okay, this series started before my cutoff date and probably shouldn't count, but it was such a major part of the 2000s popular culture, the Matt Groening show that everyone moved on to after "The Simpsons" started going downhill.  References and memes abounded for years.  Also, "Futurama" was cancelled and revived so many times, in so many variations, I'm sure it set a trend.  At the time of writing, it's also the only show of the top ten that is still airing.

Parks and Recreation (2009) - I was late to this series too, which I dearly love for the cast rather than any specific jokes or clever bits.  It was so much fun to watch the ensemble gel and the writers to find their footing over time.  "Parks and Recreation" isn't really the optimistic, feel-good workplace show that we know and adore until the third season, an evolution that would be unlikely to happen today.  Leslie Knope and Ron Swanson remain two of my absolute favorite sitcom characters.

Malcolm in the Middle (2000) - This is the only semi-traditional family sitcom in the top ten, because it remains the only family sitcom that really felt like it did things differently.  Most of the other contenders are about different kinds of families while "Malcolm" is really distinguished by its irreverent tone, chaotic visual style, and narrative subversions.  If lessons are learned in the end, they're often inadvertent, and the victories are short-lived.  As the theme song warns, "Life is unfair."

Community (2009) - I've sung the praises of "Community" many times, for being one of the most ambitious sitcoms ever made.  The parody episodes, the meta episodes, and the drama going on behind the scenes, all helped this to achieve the kind of consistent quality and boundary-breaking innovation that few sitcoms could.  Honestly, the antics of the fanbase and creator Dan Harmon were often as entertaining as the show itself.  And I'm still holding out hope for the movie.

Fleabag (2016) - The Guardian calls this a sitcom, so I'm calling it a sitcom.  Phoebe Waller-Bridge's fantastic fourth-wall-breaking confessional where she plays a terrible, shameful woman, is still easily one of the best comedies of the millennium.  It's so brutally mean and honest, while acknowledging the cost of being mean and honest.  The second season with the Hot Priest might be seen as the show losing some of its verve, if it weren't simultaneously so utterly devastating.   

Veep (2012) - I had to have an Armando Iannucci show on this list, and "Veep" should count as a sitcom.  It's the most foul-mouthed, blisteringly sardonic piece of television that could only air on premium cable, but in the end it's a workplace comedy with a central cast of White House staffers who get into nutty situations in every episode.  And the satire was immaculate.  There are a couple of other cringe humor shows on this list, but "Veep" is the only one that got downright dark at times.

The Office (US) (2005) - This one was close, but how could I leave it off?  The documentary style, the uncomfortable humor, that cast - "The Office" slowly but surely became one of the cornerstones of the television landscape for a big part of the 2000s, and its influence is still felt to this day.  The original UK "Office" was revolutionary in its own right, of course, but it didn't have the bigger episode counts or the environment to grow into what the American version became.

The Next Fifteen 

Modern Family 

My Name is Earl

Rick and Morty

Superstore

Abbott Elementary

Brooklyn 99

The Thick of It

Vicious

Scrubs

Curb Your Enthusiasm

The Big Bang Theory

How I Met Your Mother

Schitt's Creek

The Office (UK)

It's Always Sunny in Philadelphia

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On "Obsession"

Half an hour into "Obsession," I was not impressed.  I'd spent what felt like an interminable amount of time watching the lead, a mopey twenty-something named Bear (Michael Johsnton) pine after his co-worker Nikki (Inde Navarette).  The two of them work retail jobs at a music store with their friends, including the boorish Ian (Cooper Tomlinson), and artsy Sarah (Megan Lawless).  Bear has been in love with Nikki for years, but can't bring himself to actually tell her he has feelings for her, even when she asks him outright if he's interested.  I didn't find Bear sympathetic or interesting.  Fortunately, "Obsession" is a horror movie and not a romantic comedy or coming-of-age story, so this was not a problem.

How "Obsession" became a word-of-mouth driven box-office breakout has been the subject of much interest.  Writer and director Curry Barker is having a real Cinderella moment, having made a horror film for less than a million dollars that went on to outgross major studio summer tentpoles.  And after seeing the film, I understand why.  "Obsession" offers a very good time.  It's a horror film that has genuinely surprising shocks, a good amount of nervy suspense, and some deadpan comedy too.  It's similar to last year's "Weapons" in that some of its most horrific moments are also wonderfully funny and absurd.  It uses a simple fantasy premise - Bear makes a wish on a novelty item called a "One Wish Willow" to have Nikki love him "more than anyone else in the world" - and takes it to twisted extremes.  

The movie really kicks into gear when Nikki becomes the post-wish "Freaky Nikki," the utterly obsessed and increasingly deranged version of Nikki who will do anything to be Bear's perfect girlfriend, but maybe doesn't have a good grasp on being a functional human being any longer.  Inde Navarette's performance is absolutely bugnuts insane in the best way possible.  She's a nice, normal girl one minute, then a creepily fixated freak trying to pretend that she's normal.  Whenever the mask slips, it's always a surprise as to how she's going to lash out next.  Will she start screaming in the middle of a restaurant?  Will she start telling you about her disturbing Hansel and Gretel incest fanfiction?  Will she just pull a comedic frown-y face at Bear in a way that defies description?  Freaky Nikki is a fabulous addition to the modern female monster pantheon, right up there with Monstro Elisasue and Aunt Gladys.

The unappealing intro is actually doing a lot to set the audience up to expect a certain kind of story with certain types of characters that are all going to be subverted.  We all know how this unrequited romance plot with the dorky guy and the hot girl is supposed to go, right?  "Obsession" feels very Gen Z in a good way.  There's casual drug use, mumbled line delivery, and Bear is a version of the increasingly common trope of the toxic "nice guy."  Thematically, the story touches on a range of relationship and mental health issues, and has sparked some interesting discussions online about Bear's degree of culpability for what happens.  Aside from Navarette, the performances aren't great, which actually adds to the verisimilitude of this film.  It's easier to accept that this insanity is happening to a regular group of people, all flawed and familiar in believable ways.        

Barker also does a great job stretching a limited budget, orchestrating some excellent creepy shots of Nikki with a few basic lighting tricks.  His editing choices and the sound design play a big role in the effectiveness of some of the reveals.  There are relatively few traditional jumpscares, but several shots that are more disturbing and uncomfortable the longer you look at them.  I don't know why the image of Nikki holding a bouquet of flowers over her face like a Matisse painting is so striking, but I couldn't look away from the screen.  And this is before anything really violent happens - a lot of very violent things do happen, by the way.  I worry that I've made this film sound lighter and more frivolous than it is, because the horror is absolutely dark, nightmare-inducing horror, and sensitive souls should approach with care.

For those of you who regularly enjoy such depravities, do seek this one out.  It's a keeper.

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