I Saw The TV Glow is my Not So Hidden Gem of 2024

I Saw the TV Glow is an American dramatic horror film. It tells the story of the peculiar friendship between two high school students, united through the Saturday night TV series The Pink Opaque. But more than just a teen show, this series pushes them to question their own desires and even reality itself.

Written and directed by filmmaker Jane Schoenbrun, who previously explored horror through the lens of adolescence in the dramatic horror film We’re All Going to the World’s Fair, the movie was supported by the renowned couple Emma Stone and Dave McCary through their production company, Fruit Tree. The film was first shown at the Sundance Film Festival in January 2024. It was then projected in very few theaters in the United States and Canada before being released in VOD on June 2024. The movie stars young actors Justice Smith, known for Jurassic World: Fallen Kingdom and Detective Pikachu, and Brigette Lundy-Paine, known from the teen series Atypical and the recent horror film Amelia’s Children.

I Saw the TV Glow is primarily about the unique bond between Owen and Maddy, two outsider teens connected through a 90s-2000s-style TV show. This teen series structures their lives: from trading official guides to gathering every Saturday to watch new episodes and engaging in endless discussions about it, much of their interaction revolves around their shared passion.

This evokes a particular nostalgia for those who remember the anticipation between episodes, akin Monster of the Week, as well as the era’s merchandise, posters, magazines, and fan forums. These fandoms, which often supported or even alleviated adolescent struggles, left a more significant impact than adults might realize. In I Saw the TV Glow, the tv show serves as a vital escape from physical violence, divorces, identity crises, or the health problems of loved ones—it becomes a lifeline for forging friendships.

But what is The Pink Opaque? It’s a story following two young girls, Tara and Isabel, who, though geographically isolated, communicate psychically to fight the minions of the main antagonist, Mister Melancholy. It’s somewhat reminiscent of shows like Buffy the Vampire Slayer, teen TV shows featuring young women whose personal struggles intertwine with their battles against dark forces. These “girl shows” were ones boys secretly watched with a hint of embarrassment. The aesthetic is similar yet crafted to be more unsettling. Like a child who would see horror in a perfectly innocent show.

I Saw the TV Glow isn’t a sensational horror film. It’s not gory (or very minimally so), and to be clear… if you’re into jump scares, you might want to skip this one. This is a deeply personal horror film. The nostalgic atmosphere of adolescence draws you in, quickly revealing that no mysterious entity will be fought; instead, the setting serves as a backdrop for the inner turmoil of youth searching for a place in the world.

The film offers multiple layers of meaning, with horror and fantasy ultimately acting as a vehicle for more subtle subtexts—as horror often does. Here, these elements accompany the challenging journey of self-discovery, particularly around themes of transgender identity. The film wraps this subject in a cruel, unsettling beauty. It’s a story that can make viewers uncomfortable, with a heavy, strange atmosphere akin to It Follows—though more abstract and experimental. It’s an ambiance that won’t resonate the same way with everyone.

While the nostalgia for Saturday night shows may appeal to older viewers, the horror in I Saw the TV Glow feels very modern, aligning with the aesthetic of internet-based horror. The eerie scenes have an almost liminal space aesthetic—images of places that feel familiar yet unvisited, widely shared online. The film invites viewers to conduct their own investigation, evoking a sense of the uncanny cherished in web horror videos. It’s almost as if the film belongs in an ARG (Alternate Reality Game).

Atmospheric indie songs add a modern and oddly calming layer, turning the film into something akin to an experimental, horrific version of the Life is Strange video game series. This aesthetic choice is no accident, as Schoenbrun’s previous film was inspired by internet creepypastas.

In the end, the film leaves a sensation less of fear and more of bitterness. Though its strangeness may cause discomfort or confusion, it ultimately leaves behind a profound sadness. Of course, it will resonate more with some viewers than others, and fans of pure horror might find its aesthetic and story too “hipster,” slow, or confusing for their tastes.

Yet I Saw the TV Glow is a unique addition to the horror landscape. It won’t leave indifferent those who take the time to fully immerse themselves in its narrative—a story that doesn’t provide all the answers and demands reflection. It’s a film that won’t hold your hand but may linger in your mind for a while—or bore you to tears. There’s no middle ground.

And of course, I am on the first team.