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I have had a lot of evil people say to me that nothing taste as good as skinny feels and every time im like no im pretty sure food tastes really super good actually
reading the original screenplay for obsession. i see why they cut this because it’s so in-your-face but godddd nikki (originally nicky) was basically telling bear what would be the moral of the movie and he just can’t absorb any of it
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one of the things i admire most about obsession is the deliberate denial of any kind of optimistic ending, as well as the method by which that is executed. i’m thinking, specifically, of how the musical cues are utilized to pull multiple bait-and-switches on the audience: the way the music swells when bear is explaining the wish to ian and asking for his help; when bear puts the gun in his mouth; and when he takes the oxycodone.
obviously, if ian wishes away bear’s initial wish, that’s a happy ending! if bear dies in the bathroom and we cut to black, the audience can hold onto the hope that the wish breaking allows nikki to go back to her life before!
but those endings, especially the latter, would be dishonest. i appreciate that the film makes us sit in nikki’s anguish instead, bc i appreciate that it understands that she was equally affected by this, if not more so! an ending that bleak is honest to the concept and to the consequences inherent to the concept and i think it shows a great deal of respect for nikki. it’s an acknowledgement that nikki experienced something deeply violating and now has to somehow learn how to cope with it.
LOVEEEE wish!nikki being faceless. her face being backlit or her entire body being shadowed in darkness. wearing clothes that are completely removed from her style before the wish. having a higher pitched voice than she did before. not being able to smile the same. it’s not just that nikki’s face hidden in shadow, everything that made her HER has also been covered up with something else. wish!nikki doesn’t have a face of her own, she just has what bear wants projected onto her.
It brings me no end of joy that a Disney released theatrical Star Wars movie (which is basically DLC for a disney plus show but that's another conversation) is getting smoked in its second weekend by two low to mid budget horror movies made by first time directors in their 20s given basically blank check creative control. Things are looking good for the movies these days
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i love that Obsession didn't do the "oh if you'd just asked her out she would've said yes" thing.
like that kind of "you didn't need magic, you could've gotten what you want the honest way" dramatic irony can be effective and i see why a lot of writers use it for "be careful what you wish for" plots like these, but i love that Obsession is like, "no. she doesn't like you like that. there is no version of this where you end up dating her, and you need to get over it."
and nikki clearly did value bear's friendship and care about him; if he'd been honest with her about his feelings, she probably would've tried to let him down easy and remain friends - but of course, it's unlikely that he would've been willing to remain friends. bear's both too cowardly to admit the truth to nikki (which would've prompted her to reject him outright and at least given him closure), and too obsessed with her to just quietly accept that it wasn't gonna happen (which would've let him maybe start to get over his crush and move on). he's both convinced they belong together and unwilling to be direct in doing something about it, and he doesn't get even the barest comfort of knowing the real nikki loved him all along. she didn't. she liked him, but she didn't love him. and he swapped her out for a version of her that "loves" him... but doesn't like him. and he still wanted to try and make that work, even knowing the real nikki was trapped and miserable inside the shell of her body, being used by the thing he willed into existence. the tragedy doesn't happen because what he wants is within reach and he doesn't realize it - the tragedy happens because what he wants is impossible, and he refuses to see that until it's too late.
[ID copied from alt: A digital drawing of Nikki Freeman from the movie Obsession. The drawing is only done in red and white. She is an illustration on a long triangular box, similar in style to the One Wish Willow. Her body is cracked in half at the waist, where "crack" is written to illustrate this. She is smiling wildly but has a pained look in her eyes. There is a speech bubble which says, "you wished for this" and there is text on the box which reads "freaky Nikki." There is a pattern behind the box of white stars, eyes, swirls, hearts, and hourglasses. The background is solid red. End ID]
I think the thing that is the most disturbing to me about Obsession is just how quickly it becomes totally clear that Bear not only never loved Nikki, but that he never even liked her.
In the little time we spend with Nikki before she becomes possessed “freaky” Nikki, Obsession goes to great lengths to establish Nikki as a person.
In just the first 15 minutes of the film, we learn that Nikki loves writing, she’s laid back, and that she cares very deeply for others. We see that she’s funny, she likes to gently tease her friends and joke around. She has ambition and wants to pursue her writing seriously. She has her own goals and thoughts and opinions.
She’s also characterized very well by her wardrobe, how she talks, her body language and expressions (courtesy of Inde Navarrette’s absolutely STUNNING and brilliant performance).
In a VERY short amount of time, the audience is given a VERY clear picture of Nikki’s personality and usual behavior.
Which makes her “transition” into “Freaky” Nikki all the more horrific when Bear makes his wish.
Because even if we give Bear some grace, and acknowledge that he couldn’t have known that the One Wish Willow would do what it did, and even if we treat his kissing her on the first night she comes over as morally grey (although in my opinion he absolutely did take advantage of the fragile mental state he believed her to be in), there is no way to excuse Bear blatantly ignoring that Nikki changes so drastically from the person Bear claims to be in love with.
After the wish, Nikki starts speaking differently and using a higher pitched voice, she starts dressing completely differently and wearing more traditionally “feminine” clothing. She suddenly drops her plan to quit working at the music store and pursue writing, she stops showing any care towards her other friends and the people in her life. She defers to Bear in every situation, with the only exception being any time Bear shows any sign of moving away from her emotionally (or physically).
After the wish, Nikki becomes a completely different person.
And Bear does not care or show any concern regarding this at all.
Everything that makes Nikki who she is, everything that makes Nikki, Nikki, is just gone after Bear uses the One Wish Willow.
And Bear couldn’t be happier.
We get a whole montage of Bear and “Nikki” as a “happy couple” hanging out together and ignoring everyone around them.
It’s not until Bear starts seeing actual consequences to his wish, such as “Nikki” causing a scene on their date or feeding his dead cat to him, that he begins to worry about her behavior.
And even then—EVEN THEN!!!!—Bear STILL adamantly refuses to accept that Nikki is not behaving rationally or how she used to in any way. While he eventually acquiesces to canceling his wish, he first tries to just “alter” it to make it so Nikki still loves him, but is just less intense.
He would rather use “Nikki” to satisfy his own desires and ego.
If Bear loved Nikki, hell, if he even just LIKED her for who she is, he would be horrified by “freaky” Nikki. He would have recognized and acknowledge extremely early on in their relationship, that something was deeply wrong. He would know that the woman he was with was not Nikki.
But Bear would rather have a bootleg version of Nikki that he can feel validated by, than have an actual relationship of any kind with the real Nikki.
He does not love Nikki. He does not even like her.
He likes the idea of Nikki. He likes the image of Nikki that he’s constructed of her, the image of her that only exists in his head.
He likes the fantasy of what Nikki would provide to him emotionally and physically.
From the beginning of the film, Obsession shows us exactly who its villain is. Nothing that “Freaky” Nikki does horrifies me as much as Bear’s treatment of Nikki and his refusal to see her as an actual person with autonomy.
For me that’s the most disturbing element of Obsession. That the people you trust the most and care about may be so obsessed with the version of you they’ve created in their mind that they’ll actively ignore your personhood and autonomy.
God. Obsession is so fucking good. I love film. I love cinema. Thank you Inde Navarrette. Thank you Curry Barker. Film of the year, if god hates horror fans why do we keep winning.
One thing that really stuck with me and proved that he does not even know Nikki is that Ian is the one who questions if she was using MD again. Bear did not know about it. Ian, and then Sarah, question it when Bear says Nikki is acting strangely because she's upset her father has cancer. Their immediate response was "the father she hates and doesn't talk to?" but Bear never questioned it. When Nikki tells him about her dad, he doesn't ask when they started talking again. Did he even know she had a bad relationship with her father?
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Bear is one of the most selfish men in cinema. He has little reaction to Nikki stabbing herself, he destroys Nikki's life instead of just asking her out, his selfishness results in the death of his two best friends, and kills himself and let's Nikki deal with the consequences of HIS ACTIONS instead of giving Nikki she wants.
"Preparing [for the role of Nikki] was really fun. We got to watch a lot of fun movies, and kind of pick and choose, like a puzzle, what we wanted in the film. Moments that we took inspiration from, and made them our own." — Inde Navarrette for Fandango
"We watched Get Out, and focused on a lot of the moments where characters are showing an emotion underneath but saying something completely different [on the surface], and how horrific that is. There's a scene where [Nikki] is saying, "no", and there is a [similar] scene in Get Out [which we took inspiration from]." — Inde Navarrette for A Shot Magazine
Obsession (2026) Dir. Curry Barker
Get Out (2017) Dir. Jordan Peele