The Dark Allure of 'Something Very Bad Is Going to Happen' and Its Cinematic Cousins
There’s something undeniably magnetic about horror that lingers long after the credits roll. Something Very Bad Is Going to Happen, the Netflix miniseries that took the streaming world by storm, is a prime example. Personally, I think what makes this show so compelling isn’t just its chilling premise but the way it weaves together familial dysfunction, psychological tension, and a dash of the supernatural. It’s the kind of story that leaves you craving more—not just more episodes, but more like it. And that’s where the fun begins.
One thing that immediately stands out is how Something Very Bad feels like a love letter to the horror genre while carving out its own unique space. It’s not just a rehash of old tropes; it’s a thoughtful exploration of fear, both personal and societal. This got me thinking: what other films and shows capture that same essence? What makes this particularly fascinating is how the show’s themes—marriage, family curses, and the weight of tradition—resonate across different horror stories. It’s like Haley Z. Boston, the showrunner, tapped into a collective anxiety that’s been haunting us for decades.
The Social Horror Connection: Get Out and Beyond
If you take a step back and think about it, Something Very Bad shares DNA with Jordan Peele’s Get Out. Both stories use horror as a lens to examine societal issues—in Get Out, it’s racial tension, while Something Very Bad delves into the pressures of marriage and family expectations. What many people don’t realize is how these films use isolation as a tool to amplify fear. Whether it’s Chris in Get Out or Rachel in Something Very Bad, the sense of being trapped in a hostile environment is palpable.
But here’s where it gets interesting: while Get Out is a sharp, satirical thriller, Something Very Bad leans more into gothic horror. The Cunningham family’s dysfunction feels almost Shakespearean, and the curse that haunts them is both literal and metaphorical. This raises a deeper question: why are we so drawn to stories where the real monsters are the people around us? In my opinion, it’s because these narratives force us to confront our own fears of betrayal and entrapment.
Family Trauma and Ghostly Echoes: *The Haunting of Hill House*
A detail that I find especially interesting is the presence of Victoria Pedretti in both Something Very Bad and The Haunting of Hill House. Her performances in both shows are hauntingly similar—characters haunted by their pasts, literally and figuratively. What this really suggests is that family trauma is a universal horror trope, but it’s how it’s executed that makes all the difference.
Hill House is a masterclass in slow-burn horror, while Something Very Bad is more fast-paced and visceral. Yet, both shows explore how the sins of the past reverberate into the present. From my perspective, this is why horror works so well as a genre—it takes our deepest fears and gives them a face, whether it’s a ghost or a dysfunctional family.
Wedding Bells and Bloodshed: Ready or Not and *The Invitation*
What makes Something Very Bad so relatable, despite its supernatural elements, is its focus on marriage as a source of terror. This theme is echoed in films like Ready or Not and The Invitation, both of which use weddings as a backdrop for horror. In Ready or Not, Grace’s deadly game of hide-and-seek is a dark commentary on the absurdity of family traditions. Meanwhile, The Invitation takes a more psychological approach, exploring the lengths people will go to for acceptance.
What’s striking is how these stories tap into a very real fear: the idea that marriage isn’t just a union of two people, but a merging of families—and sometimes, those families are downright dangerous. Personally, I think this is why wedding-centric horror is having a moment. It’s not just about the scares; it’s about the societal pressures and expectations that come with saying “I do.”
The Anthology Appeal: Cabinet of Curiosities and *Brand New Cherry Flavor*
One thing I love about Something Very Bad is its ability to blend different horror genres seamlessly. This is something Guillermo del Toro’s Cabinet of Curiosities does exceptionally well. Each episode is a standalone tale, but they’re all tied together by del Toro’s signature gothic aesthetic. Episode 4, “The Outside,” written by Haley Z. Boston herself, feels like a spiritual sibling to Something Very Bad—a story that’s both eerie and deeply personal.
Similarly, Brand New Cherry Flavor shares stylistic similarities with Something Very Bad, though its plot is vastly different. Both shows have a curse at their core, but while Cherry Flavor is a revenge tale, Something Very Bad is a cautionary story about the dangers of ignoring the past. What this really suggests is that Boston has a knack for crafting narratives that feel both familiar and fresh.
The Aftertaste of Horror
If you’re anything like me, finishing Something Very Bad Is Going to Happen left you with a mix of satisfaction and longing. It’s the kind of show that sticks with you, making you want to dive into more stories that explore similar themes. Whether it’s the psychological tension of I’m Thinking of Ending Things, the bridal horror of Sukob, or the twisted marriage dynamics of Till Death, there’s no shortage of films and shows that capture that same uneasy feeling.
In my opinion, the best horror doesn’t just scare you—it makes you think. Something Very Bad does that in spades, and its cinematic cousins are equally thought-provoking. So, the next time you’re in the mood for something chilling, remember: the scariest stories are often the ones that hit closest to home.
