I Saw the TV Glow

So... the choices in both the story and the look and overall nightmarish aesthetic of I Saw the TV Glow will likely be compared to several things by film critics and watchers more astute than I, but it makes the most sense when one discovers that Jane Schoenbrun has said in interviews and such that Twin Peaks and specifically The Return left a major impact on them. I wouldn't be surprised if they watched it over and over and (repeat 10x fast) over the past several years, and look it there are few pieces of art created for the medium of television that were as daring and unsettling and just DGAF as Lynch's electrical fire of a masterwork.

*But* and this is a big but here: taking many of the aesthetic touches and visual cues from that show doesn't automatically make a work of art meaningful. And what to see here that is not the Pink Opaque TV Show (which I'll get to)... these choices don't do it for me, to say the least.

Also one should remember that Lynch and Frost never forgot, over the original show, Fire Walk with Me and the Return, that there had to be *shown* the kinds of depravity, abuse and total horrors from the human beings in that town and elsewhere, that comes from a world where everything that seems ho-hum and banal about small town life or typical in city life (and in the case of TV Glow the Suburbia kind) are anything but when you scratch just a little below the surface. And there is no lack of an eye with this film (shot on 35mm) and it may be to a fault, but that it isn't so much what Schoenbrun remembers they loved from the Return - electrical currents, a moody band playing at a bar while our leads talk about devastating/consequential things, a parent sitting in the eerie light of a TV alone in a room- as what they leave out.

TV Glow I'm sure somewhere in Schoenbrun's conscious intention is about that, at least for the Owen and Maddy characters, who we are told and *not shown* (as the difference from Lynch's phantasmagoria), have been neglected and/or abused by their parents (or just made to feel like, at least for Owen, he or he may be they ultimately, can't be who they truly are). And I can dig a movie that is also about a disaffected and so much so one may say it's about autistic or even Asperger adolescents, ie cant look in a less-important person's eyes when talking to them, and how bonding over a wholly commanding and absorbing piece of media can feel like a second breath (and who cares about the quality when you're a kid, it's about the *world,* man). The problem for me, maybe the key problem, is that Owen and Maddie are drawn and directed to be almost parodies of disaffected youth.

I don't think it is a problem with Lundy-Paine's acting talent per say as they are giving as much as they can in the role, it is just a matter of... sorry, but, delivering this monologue in the monotone damned voice I've ever heard outside of one of the student films I used to see back in my undergrad days, is not going to cut it. But Lundy-Paine doesn't come away looking like an embarrassment. Justice Smith, on the other hand, is actively bad here, to the point where there would be times he would open his mouth and I would laugh at his delivery. I'm not sure if it is simply him or the writing or directing or all of it combined into this walking morose failure pile in a sadness bowl of a performance, and I know I have seen him be decent before (Detective Pikachu was... fine!) For this, there is nowhere for this character to go, or for us to see much in the way of a change or degradation from watching this seemingly mind-bending YA show (till arguably the last couple of scenes, hoo boy), so Smith is one tone from minute one till nearly the last. Awful.

But what about that Pink Opaque TV show, you might ask? This was the highlight of the movie for me, and mostly because it's where I could sense other conscious or possibly unconscious creative influences from Schoenbrun's youth forming into this parodic stew - and mine and my wife's as well, she came to this knowing about the Buffy influence by the way and it was obvious where it shows (Amber Benson cameo notwithstanding). It's genuinely entertaining to see these set pieces from the show unfold, from the grotesque and cheesy monsters to the "Mr Menancholy" Big-Bad of this concoction. While I wished we saw more of the show in the film, it was still not the problem of missing Maddie's father as a character or mostly Owen's mother. What we see of the Pink Opaque is cheesy and silly and crazy and, for a 90s kid, pretty spot on to a myriad of kid-leaning shows.

The sad and frustrating part of watching this film is that I can see a lot of the potential of the ideas here, and I absolutely get why this is connecting with/for LGBTQI (or autistic/mentally ill). At the same time, and this is just my take and take my basic Cis white guy take with a grain of salt if you must, I didn't think the film goes that deep enough into the Trans allegory; Owen clearly is not at ease with himself (if again he is a he), and the idea could be interesting that perhaps the infatuation with a show aimed assumedly at a young traditionally female demographic opens a lock inside his consciousness or self awareness. That... doesn't happen, maybe at the final couple of scenes with that moment in the bathroom, kind of?

But the drama is so... well, Opaque as a tone throughout this picture that I never got much of any humanity anyway here. Even with Owen and Maddie's bond over the show, it leaves them in a trance state, which ok fine, but a) that never leads to anything that is that satisfying as a *horror* movie, or where it would make any reasonable sense, ie its years and years later to find out what the show has done to Maddie's mind (and good lord was this mismarketed as that to the Nth degree), and b), if they were so all-consumed by this show where it dominated their lives and so on, it never extends to, say, seeing what the rest of the cult around this show is like? Or even if it is just the two of them taking this show as gospel, then no one else in the world (or as something that existed circa late 90s, the Internet and fan forums) is there as a reaction to say "hey its all just silly girl-power Mr Frostee evil-moon-man fun"?

Or maybe the whole film is supposed to function more on the artful vibes and symbolism. Again, going back to my Twin Peaks and Lynch flag-pole, for all of the doggedly and unflappable weirdness of that world, there was always some real people or things that the weirdness could play off of. There's barely anything like that here- asshole co-workers who get like a minute of time don't count- and oddly enough the whole film mostly ends up feeling like a stitched together series of a supporting character arc from a long running show where everything else that is normal has been edited out. And all that we are left with is... Owen.

I want to make something else abundantly clear: I think it's awesome to make a film that stands as a Trans allegory! Go for it, Trans people and non-Binary folks are great just like all other (non asshole) people out there, and if all the Genre influences and self conscious winks and nods to 90s ephemera was the way to make this unique for you, more power to you. I think in the abstract it is wonderful that a decidedly and markedly uncanny film is playing in multiplexes and will affect some kids (and adults) who find this moving.

Yet I Saw the TV Glow is as a piece of executed material such a pretentious boondoggle, a character study where the characters are so withdrawn as to be sucked into a near black hole on the ass of Mr Melancholy, featuring casting choices for Owen from age 12 to 14 that just kills the soul, and it's all the more remarkable given how Schoenbrun's previous directorial debut, We're All Going to the World's Fair, dealt with societal isolation and disaffection and media manipulation in an exciting and satisfyingly strange collage of moments (also with its own context). I left the theater in a daze and laughing to myself; this is never boring, I'll give it that. It's too much of a WHAT IS THIS experience to leave before it ends.

And then when it does it... ended. No season 6. Sigh.

Bridgette Lundy-Paine delivered their lines like they were being fed to her through an ear piece. The terrible acting completely took me out of the universe the director was trying to convey. There were too many boring, drawn out monologues delivered monotonously without emotion, it almost became comical. It's really hard to connect to characters who show no resolve whatsoever. There were interesting themes but they were poorly executed, wish there was more emotional depth. There are so few actors with lines that these poor performances stick out like a sore thumb. Film has the vibe of a CW show written by an angsty teen who loves LED lighting.

It features many dynamite indie rockers (both in cameos and musically), it started off great with interesting characters and EXCELLENT aesthetics - as a millennial, I felt a lot of nostalgia for similar shows I used to watch growing up. Ultimately though, the story fell apart and offered little substance.

The film has an interesting and societally relevant theme, but I think that's where this falls flat - a great film may elicit the response:

"That was a great story - what were its most prominent themes?"

But instead I found myself asking:

"That was an interesting theme - what were its most prominent plot lines?"

A deeply sad, heartfelt, surrealist film that is very likely to be the most unique American film released in 2024, and even more likely to be misunderstood by at least 75% of its viewers. On the surface, it's one of the most locked-in mid-90's nostalgia pieces I've ingested, but beneath that it's one of the most complex coming-of-age films I can think of.

To me, the movie was an expression of the kids who grew up in dysfunctional families in the 90's (the TV generation), those who were drawn to dark media due to that (which was extremely prevalent in the late 80's up through the mid 90's), and in turn, those who ended up with a far deeper connection with those dark fantasy worlds than they had with most other humans, and reality as a whole. When it's time to grow up, things get rough...I can relate, because I was 100% one of those kids during that exact era, so this one hit a lot of buttons that made a lot of sense for me.

There are some impressively unique horror/monster effects in this film, that are equal parts comical and terrifying, simultaneously, which feels like yet another element that is heavily loyal to the era it is inspired by. This, along with many other elements, allow this movie to differentiate itself pretty boldly from everything else coming out right now. Common horror fans will likely just be confused by this film, which tends to be the case with most psychological horror films that actually offer anything with emotional purpose, but it offers plenty of cerebral scares and lots of melancholic gloom.

Leads Brigette Lundy-Paine and Justice Smith do an immense job of keeping things deathly serious and dreamlike, Smith almost feeling like he fittingly "can't handle being human" a lot of the time. There are several sequences where their performances bring the movie to a full Lynchian realm - of course this is also due to visionary director Jane Schoenbrun's skilled directing. Speaking of that, I just realized that the segment that feels most like a nod to Lynch in a multitude of ways is the one that features bands performing live at a strange club, much like the Road House in the last season of Twin Peaks. Kris Esfandiari of King Woman makes an especially strong appearance here. It certainly doesn't hurt that they put together a very tasteful soundtrack that feels very reminiscent of the classic movie soundtracks of the 90's. It's fitting that the movie and soundtrack begin with a Broken Social Scene cover, because the whole album kind of feels like a full Broken Social Scene album, with similar dynamics and vibes throughout.

While it's truly hard to compare this to anything, it feels HIGHLY inspired by ARE YOU AFRAID OF THE DARK?, the Canadian kids horror program broadcast in the 90's on Nickelodeon, more than anything, while it's themes remind me only of a couple other movies, Pixar's INSIDE OUT, and the very wild SYNECDOCHE, NEW YORK. While I cried my eyes out at that Pixar movie, this one is too committed to its surrealism and gloom to induce actual tears, but the overall melancholy remains very heavy and very real throughout.

This is a movie about the weirdos who found solace in media for weirdos. Brilliantly, the movie itself is weird (and sincere) enough to be that exact sort of weird type of media that the new young weirdos may find the same kind of solace in when they watch this as a teenager in reality now. I think that might be the whole point. If it wasn't, then it's awfully masterful accident. That's 2 strikingly unique and effective psychological horror films by Jane Schoenbrun now, 2 for 2...I officially deem thee a visionary force to be reckoned with.

I was thoroughly looking forward to this film but alas. The style, the cinematography and the subject matter are all well-executed and important. However, there is little to no nuisance. Any subtlety is not subtle and any message is overpowered by sub-par acting and loud, screeching, pretension.

Mysterious Skin (2006) is a film that's similar but done exceptionally better. While the subject matter is far from metaphoric, it's execution is brilliant. I Saw The TV Glow seems like a proof of concept with a powerful core message that had the glaring plot gaps filled with flashing visuals and nostalgia-bait.

This should've been a Tisch short.