Netflix’s latest foray into horror, Something Highly Bad is Going to Happen, arrives with a weighty lineage. The eight-episode series positions itself in conversation with classics like 1976’s Carrie and 1967’s Rosemary’s Baby, films that used genre tropes to explore the anxieties of female adolescence and motherhood, respectively. This new series, however, aims its unsettling gaze at the institution of marriage, suggesting that wedding jitters can mask something far more sinister. While the premise holds promise, the execution is hampered by a frustratingly murky aesthetic and a narrative that struggles to build genuine suspense, ultimately making the most frightening aspect of the demonstrate its consistently dim lighting.
The story centers on Rachel (Camila Morrone), a young woman traveling to the remote countryside to spend a few days with her fiancé, Nicky Cunningham (Adam DiMarco), and his family before their wedding. The Cunningham estate is immediately unsettling – a sprawling, decaying mansion that feels more like a relic of a bygone era than a welcoming home. Nicky himself is pleasant but bland, while his family members range from subtly off-putting to outright creepy. Jennifer Jason Leigh, a reliably compelling performer, delivers a particularly chilling performance as Victoria, Nicky’s mother, though her character feels strangely underutilized. Gus Birney as Portia, Nicky’s sister, evokes a familiar, unsettling energy reminiscent of Meredith Hagner’s character in the dark comedy Search Party.
A Slow Burn That Barely Flickers
Despite its eight-episode length, Something Very Bad feels strangely inert. Creator Haley Z Boston deliberately avoids establishing a clear baseline of normalcy before introducing the unsettling elements, opting instead for a pervasive atmosphere of dread from the outset. This approach, while potentially effective, ultimately feels heavy-handed. The suffocating tension quickly becomes monotonous, and the lack of grounding makes it difficult to invest in Rachel’s growing unease. The series hints at a deeper, more insidious plot, but it unfolds at a glacial pace, relying on vague symbolism and unsettling imagery rather than concrete narrative development.
The show attempts to subvert expectations by steering clear of the well-trodden trope of marriage as a literal demonic trap, as seen in films like 2019’s Ready or Not. Instead, it explores the more subtle anxieties surrounding commitment, societal expectations, and the loss of individual identity within a relationship. Rachel harbors secrets of her own, and as the series progresses, fragments of her past are revealed. However, these revelations often feel contrived and lack the emotional resonance needed to truly engage the viewer. The critiques of marriage are present, but they are rarely articulated with clarity or nuance.
The Darkness is…Literal
Perhaps the most significant impediment to enjoying Something Very Bad is its relentlessly dark and washed-out visual aesthetic. It’s become a recurring criticism of Netflix’s original programming – a tendency towards murky cinematography that often obscures more than it reveals. As many have pointed out, the issue isn’t merely a stylistic choice; it’s a technical flaw that actively detracts from the viewing experience. The Verge has extensively covered this issue, noting how it impacts not only horror series but a wide range of genres. The dim lighting in Something Very Bad doesn’t enhance the atmosphere; it actively hinders it, making it difficult to discern details and diminishing the impact of potentially frightening moments.
A Feature Film in Disguise?
The series also suffers from a common Netflix affliction: the feeling that its premise would have been better served as a tightly-paced feature film. The extended runtime allows for little in the way of genuine suspense, and the plot often feels stretched thin, relying on repetitive scenes and drawn-out sequences to fill the eight episodes. The involvement of the Duffer brothers, the creators of Stranger Things, as executive producers is noteworthy, but their influence doesn’t seem to have translated into the same level of compelling storytelling.
Something Very Bad is Going to Happen is a frustratingly underwhelming experience. It’s not a terrible show, but it’s a remarkably forgettable one, undone by its technical shortcomings and a lack of genuine scares. The series’ most effective moments are often unintentional – the jarring flashes of the title cards, a clear homage to Michael Haneke’s unsettling style in Funny Games – highlighting the missed opportunities within the show itself. Whether the bride will actually make it down the aisle remains a question, but whether you’ll remember this series a week from now is far less certain.
As Netflix continues to invest heavily in original horror content, addressing these recurring issues – particularly the problematic lighting and pacing – will be crucial. The streaming giant has announced a slate of new horror projects for 2027, and viewers will be hoping for a more visually and narratively compelling experience.
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