Synopsis
Jane Schoenbrun, an up-and-coming figure in experimental cinema, is set to release I Saw the TV Glow in 2024. The psychological horror drama grabs the viewer’s attention with a complex blend of genres. With the surreal and unsettling storyline about identity, disassociation, and media’s intoxicating grasp, Schoenbrun exemplifies her talent as a filmmaker, similar to what she did in We’re All Going to the World’s Fair (2021). I Saw the TV Glow reinvents classic coming-of-age tales with its eerie feel and striking cinematography. Schoenbrun illustrates the concept of self-realization alongside exploring escapism with deep-rooted questions drawing from the realm of pop culture nostalgia and late-night television.
Set in America during the late 90s, the film follows Owen (Justice Smith), an introverted and sensitive character struggling to navigate his teenage life. Owen’s existence hinges on the mediocrity of school life and a strained relationship with his parents. The lack of engagement from his parents only adds to it. Everything Owen has ever known changes after he encounters Maddy (Brigette Lundy-Paine), his rebellious classmate who is slightly older than him and turns his world upside down.
While discussing the late-night show, The Pink Opaque, Maddy hadn’t known it was Owen’s first time watching it. He kept getting flashbacks of similar cult supernatural teen series like Are You Afraid of the Dark? or Buffy the Vampire Slayer. The show quickly captures the passion and attention of both teenagers. For them it becomes much more than a dull escape from their daily lives. Maddy becomes obsessed with the show as it opens up a spectrum of possibilities for Owen. Both easily correlate to the teen protagonists of the show A Stirring in Shadow World as Owen wishes to be brave, alive, and able to beat the verse that is filled with sinister shadow creatures.
As Owen and Maddy’s relationship develops, so does their engagement with The Pink Opaque. But what starts off as mere fandom spirals into something far more sinister. Owen is tormented by graphic dreams and waking hallucinations of the show’s scenes. The reality begins to unravel, and he questions whether The Pink Opaque is simply a TV show or rather an alternate reality invading his life.
Owen’s obsession with the show is encouraged by Maddy, albeit devoid of any disbelief in reality. She is deeply concerned about his obsession but cautious not to stifle Owen’s creativity. Her skepticism and grounded view of the world starts to seem catastrophic to him as she becomes more enwrapped in the show’s world. In trying to warn him, she knows she ends up drawing him deeper into the show’s mythology, which is violent in nature. She comes too late, however, as Owen spirals into the stunning reality of The Pink Opaque. It is captivating in his alienated, identity-crisis-ridden state, but dispiriting for his well-being.
At its most fundamental level, I Saw the TV Glow is a metaphorical examination of identity development, especially within the context of a queer understanding. Jane Schoenbrun, for instance, takes every opportunity to present the personal narrative of her gender identity journey, so she had to include elements of dysphoria, desire, and the shattered self. Owen’s longing to inhabit The Pink Opaque’s vibrant and heightened reality mirrors the internal strife of someone who faces profound dissonance with the daily roles they are expected to perform. The film transforms into an exploration, not solely focused on escapism, but on the frantic attempt to find a space where one’s true self can exist.
The emotional aspect of the film is paramount, and it manifests in how the film is shot and enclosed. Eric Yue’s cinematography captures the ethereal dreamscape with soft, glowing neon shades of blue, purple, and pink that evoke the over-the-top visuals of the show featured in the film, while his edits accent that airheaded attitude. One of the most captivating things in the film is Alex G’s acutely haunting and synth-centered score, as it evokes a surreal tone where the boundaries dividing memory, fantasy, and reality distort and dissolve.
While Owen continues to spiral into obsession, he does not realize that the consequences of his actions begin to manifest troublingly. The reality that exists outside The Pink Opaque is increasingly hostile. All his relationships break apart and he is slowly losing touch with reality. The pacing is nothing short of lulling and deeply scenic. Viewers are bound into Owen’s landscape until the line between his reality and imagination blurs completely.
The peak of I Saw the TV Glow combines both release and excruciating anxiety. Without any spoilers, it does offer a deep ending which will have the audience contemplating the price of escapism, the anguish of suppressed identity, and sweet reminiscence of a fantasy that is utterly unreal. It does not follow a traditional resolution. The lack of closure only increase the impact.
Cast & Crew
In I Saw the TV Glow, the steeped in conflict performance captures the viewer gaze along with the visionary creative team.
Owen’s Character is played by Justice Smith who takes the performance to new heights. Smith’s delivery is one full of empathy and chills as he captures Owen’s delicate desire and slow disintegration into madness. His rendition gives the film emotional depth making the tragic perception of Owen’s downfall relatable instead of sad.
Brigette Lundy-Paine as Maddy: Maddy has been played by Lundy-Paine who brings sharpness, depth, reckless elements, and a cautious voice all at once. Their performance blends the film’s eerie surrealism and raw emotional truth.
Helena Howard and Danielle Deadwyler also feature in supporting roles and contribute further to the narrative through their complex, enigmatic characters.
Director & Writer
As a writer and director, Jane Schoenbrun holds both positions and therefore has a coherent and deeply personal vision throughout the movie. Queer exploration within genre storytelling was incorporated and impacts the sense of intimacy yet wider feel of the film. Schoenbrun’s distinctive narrative style and experimentation makes ‘I Saw the TV Glow’ one of the psychological horror films unlike any other.
Cinematography & Music
The film’s otherworldly look and feel is captured by Eric Yue’s cinematography, and Alex G’s atmospheric score draws viewers into a soundscape that reflects Owen’s emotional turmoil. Together, they create an immersive sensory experience that stays with viewers long after the movie finishes.
IMDb Ratings
With the publication of this piece, I Saw the TV Glow holds an IMDb rating of approximately 7.2/10, reflecting strong critical acclaim and positive audience reception. Viewers have praised Schoenbrun’s remarkable ability to blend genre elements with deeply personal themes, along with the film’s mesmerizing visuals, haunting soundtrack, and powerful performances.
Differently, critics of the film underscored its originality and emotional depth, calling it a “masterful exploration of identity” and “an unflinching look at the ways we seek refuge in fantasy when reality fails us.” Others emphasized that its slow pacing and abstract narrative would be less appealing to mainstream audiences was a point of contention. Regardless, many viewers commended the atmosphere and thematic profundity as truly distinctive and unforgettable.
Conclusion
I Saw the TV Glow is a mesmerizing, lacrimose excursion into the void straddled by reality and illusions juxtaposed with the ideal self, the self we are told, and the self we yearn to become. Jane Schoengrun masterfully crafted this film in a way that captivates audiences by sounding deeply personal yet universally resonant, relatable to anyone who felt they didn’t belong in their own world.
By incorporating stunning visuals accompanied by gripping scores and poignant performances, the film analyzes the alluring nature of escapism while having to come to terms with the more sorrowful aspects of identity and belonging. This is an unparalleled masterpiece that cannot be easily classified, giving the sensation of a dream only partially recalled, or a long lost yet cherished television program that served as solace during one’s darkest hours.
For willing participants into the world of deep self-analysis and genre-defying films, I Saw the TV Glow is absolutely paramount. It is a tale of unfulfillable desires, metamorphosis and the hue that endures even after the screen goes black.
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