E184 | Thinking Films: Obsession (2026)

Can we really love another person, or only the version of them we have created in our minds?

Today Dr Alex explores Obsession, directed by Curry Barker, a psychological horror film about desire, consent, fantasy and the darker side of romantic love.

Using the film’s central premise (a young man wishes for the woman he loves to become completely devoted to him) Alex examines the difference between love and obsession, the dangers of projection and limerence, and why genuine intimacy depends on freedom, risk and the possibility of rejection.

The episode also looks at the “nice guy” myth, the consequences of suppressing healthy assertiveness, and the risks of relying on romantic relationships for validation and self-worth. Along the way, Alex considers why younger generations may be especially vulnerable to fantasy and idealisation. 

Presented by Dr. Alex Curmi. Dr. Alex is a consultant psychiatrist and a UKCP registered psychotherapist. Website: alexcurmitherapy.com

Check out The Thinking Mind Blog on Substack: https://thinkingmindblog.substack.com/

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Alex is not currently taking on new psychotherapy clients, if you are interested in working with Alex for psychological coaching , you can email - alexcurmitherapy@gmail.com with "Coaching" in the subject line.

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Transcript

SPEAKER_00 0:00

Today we're gonna be talking about the 2026 film Obsession of men, women, relationships, dating, healthy and less healthy versions of love. Now, the nice guy, in my view, is kind of a myth. There are no nice guys because there are no nice people. Today we're gonna be doing thinking films and we're gonna be talking about the 2026 film Obsession. Although technically Obsession came out in 2025. This is the newest film we've discussed on thinking films. Often we discuss quite old films, films from the 70s, even. But I watched this film recently and I was really excited about it, so I wanted to talk about it. Obsession has got a great concept, it executed really well and has a lot of very interesting things to say about men, women, relationships, dating, healthy and less healthy versions of love. So I did want to talk about it on the podcast as soon as I can. It was pretty much one of those films where even as I was watching it, I was thinking of how relevant it might be for you guys. And it's also worth pointing out that horror in general is a really interesting genre right now. I think for the past 10 years, we've gotten some really interesting films out of that genre. I think there's quite a few reasons for that. What you can find often, if you look at the history of films, is you'll find a new up-and-coming genre often is offering the stuff that's exciting and creative but also risky. And studios are often reluctant to take a risk on those kinds of films, but eventually they do because there start to be really interesting examples of films made in that genre, and then over time, as that genre gets more and more successful, it tends to ossify, and the material coming out of that becomes more stale. So you see that a lot with the comic book franchises, where if you go back to the year 2000 and you have films like X-Men coming out, these were films which were considered very risky, but they paid off, they did well, and then comic book films became a more reliable way for a studio to make money. They reached their peak perhaps in the late 2000s, early 2010s, and then the genre began to ossify and calcify, and now we're really seeing the decline of comic book movies. At the moment, I would say horror is where it's at. And if you look at the past, say 10 years or so, you have really, really interesting horror films, films like Hereditary, The Substance, Midsummer, Obsession, Backrooms, which also just came out. Uh, I think horror really lends itself to creative expression. These films are often very low budget, they obviously use a lot of supernatural tropes, and when you can use supernatural tropes and motifs, it means you can use symbolic language. Because horror films necessarily are dealing with dark material, they're a wonderful vehicle for dealing with our anxieties and maybe some of the darker aspects of our nature. So I've been excited at the whole slate of horror films that have come out recently. I watched Obsession a few weeks ago. It was a heat wave in London, and I wanted to escape the heat. And so in the same week, I watched Obsession and Backrooms. I think Backrooms is also really interesting. But what I liked about Obsession is it had a great concept, it has a lot of layers behind that concept, and it really packs a punch. It's really well executed, it's well shot. It was shot on a really low budget. It's reported that it was shot for less than a million dollars, especially considering it outperformed a huge film like a Star Wars film that came out recently. So quite a big deal. The quality of the acting is superb in this film, especially the lead actress, which is surely the thing that stands out for anyone watching this film for the first time, I think. So if you're interested in horror, I definitely would recommend you go and watch Obsession. Uh, I'm gonna be able to talk about the plot in a way which doesn't spoil it. So you can listen to this and then go watch it. Or if you've already watched it, welcome. Hopefully, you'll enjoy this discussion. This was written and directed by Kari Barker, who is originally famous for making stuff on YouTube. And again, this is what you're seeing a lot nowadays, where people are getting their start on YouTube and then transitioning to making films, and often those films are horror films. The director of Backrooms also started on YouTube, and I believe the director of Barbarians and Weapons also got his start on YouTube. So this is a patterns that we're seeing. Not surprising, really, because platforms like YouTube give you the chance to experiment and create without any gatekeeping, without studios looking over your back. So pretty interesting stuff there. Obsession stars Michael Johnston, Indy Navaret, Cooper Tomlinson, Megan Lawless, and Andy Richter. It's not a super long film, it's only about 105 minutes long, something like that. It certainly doesn't feel long, and I would say it never feels boring. It can feel quite traumatic. So one thing I would say is again, if you're not super interested in horror or just very kind of traumatic, emotionally heavy material, might not be the film for you. The plot of this film is very simple, and again, I can explain it without really spoiling it. What you have in this film is Bear. Bear is a shy music store employee in his early 20s. He has been in love with his childhood friend and co-worker Nikki, played by Indy Navaret. And he's really unable to tell her how he feels. In the first shot of the movie, you're seeing he's practicing with his friends. He's practicing how am I gonna tell this person how I feel? And very, very relatable. You know, any guy watching this can surely watch this opening scene and relate to having your first crush when you're young and not really knowing how to express yourself about it and feeling so feeling that lack of confidence, super relatable. He is umming and awing about what he's gonna do and how he's gonna tell her. She announces that she's going to be leaving their job and potentially moving away, which introduces a sense of urgency. He randomly, in a store that sells kind of pseudo-supernatural things, he stumbles upon a mysterious object called the One Wish Willow. And the One Wish Willow is something that if you say your wish and then you break it, it's kind of like a stick object, your wish supposedly comes true. And even at the point where Bear is buying this object, there's a sense of foreboding because the clerk behind the counter says, you know, no complaints, don't come and complain, you know, if things don't go your way. So immediately as an audience member, you kind of know where it's going to go. After he gets the one wish willow, he attempts, but again fails to tell Nikki how he feels. And Nikki even provokes him. She says, You know, if you like me, now is the time to tell me. And you, as an audience member, you're hoping that he's gonna finally come out with it, and of course, he doesn't. She walks away, and in an act of desperation, he grabs this one wish willow and he says, I wish Nikki Freeman loved me more than anyone in the entire world. And immediately everything changes. So immediately Nikki falls deeply, deeply in love with him. She turns around, she's walking into her house, she turns around, and clearly she starts becoming quite obsessed with him. And the film just takes off from there. I don't really need to tell you anything more than that in terms of the plot. I don't need to spoil it for you. All I can say is that dark things happen. This film really rides the waves nicely between a sense of predictability in that you know something bad is gonna happen, but unpredictability in the sense that the film takes lots of twists and turns. And in my view, has a very, very satisfying ending. So I watched this film in the same week as I watched Backrooms, and I really liked Backrooms, and there's a lot of interesting psychological things you could say about backrooms, but maybe I chose to talk about this film because I think it really sticks the landing, it has a really satisfying ending. Now, what is this film trying to say psychologically? And again, I think it's so interesting that you don't even need to know the conclusion of this film to be able to talk about its psychological lessons. I think the premise is so strong that a lot of the psychological material just emerges from that, and I think that's really interesting. So, what you have is you have a man casting a spell that the woman of his dream supposedly would fall in love with him, and she does. And immediately, this is of course raising issues of consent. I think at the most superficial, the most superficial interpretation of this film is it's a film about consent and how important consent is, of course, in relationships. And the question this film is asking is is the possibility of rejection essential to genuine intimacy? And is consent uh essential to genuine intimacy? And of course it is. Relationships are only valuable when you're risking something, when you are risking something of yourself and trying to connect with someone, when they are risking something trying to connect with you, or when the two of you as a team are risking something to try and build something together. And if you're not seeking consent, if you're not trying to engage the person in a voluntary way, of course, that is not a real relationship, that is something far more uh corrupt. And really, there are a few key scenes. So, if you watch the film, there'll be a few key scenes where you think, wow, this almost has a satanic quality because you can really feel the lack of consent, and you also get the sense in the film quite clearly that the spell that Bear uses has quite meaningfully taken away Nikki's agency. This isn't some magic where she now magically consents to be in a relationship with him. No, this is clearly something that where force has been used and someone is very much trapped and engaging in something they do not want to do and do not want to have any part in. So that's I think the most superficial interpretation of the film and arguably one of the most horrifying components. The second theme of this film is talking about the difference between, of course, desire or you know, extreme desire, shall we say obsession, the difference between obsession and love. And for this, I'm gonna reference a book I read a long time ago called The Roadless Traveled by M. Scott Peck. So this book came out in the 60s, it's kind of one of the first pop psychology books, and it was written by a psychiatrist. And I really like that book. It's one of my first introductions to reading about psychology, and he has a really nice definition of love in that book where he talks about love as a means of enhancing someone's spiritual growth. So, probably you would have heard if you listen to a lot of podcasts like this, you might have heard this idea that love is a verb. So love isn't something you have, love isn't something that you feel, love is something that you do. And in this book, M. Scott Peck makes makes it quite clear, you know, love is about doing everything you can to enhance someone's spiritual growth. If I had to elaborate that a bit further, I might say love is creating the best possible conditions for someone's growth, and maybe not just spiritual growth, but growth in general, and that might include spiritual growth. The reason why I go so far as to say it's about creating the right conditions is because if you think it's just about helping someone grow, you might think, oh, I can decide where someone should grow, I can I can decide what direction they should take. And I think that generally gets you into trouble, a bit in the way that it gets the main character Bear into trouble in this film. He's kind of deciding for Nikki what direction her life should go in, and that's horrifying and has horrifying consequences. Whereas actually real love is creating the right, the best possible conditions, an atmosphere of love, of support, of appropriate challenge and appropriate, you know, friction as well that can help someone grow in whatever direction they think they should. Now I think obsession or desire, of course, is quite different. You know, obsession is about wanting someone for yourself. I think obsession kind of necessarily involves a degree of objectification, and objectification is a word that's thrown around a lot. But I think it's really worth introspecting about the extent to which we do objectify others in our day-to-day life. Some of that is inevitable and relatively harmless. Some of that, especially when it comes to our close relationships, can be quite dysfunctional, consequential, and harmful. I think when we really obsess over someone, we are not seeing them as a real person, a three-dimensional person with their own wants, needs, and desires. We are seeing them as this desirable object, which, if only we could have them, if only we could possess them, if only we could commodify them, perhaps, then we would get the benefits. So immediately when you're in the realm of excessive obsession, you're in a kind of taker mentality. You're thinking about things almost from a kind of parasitic point of view. I don't want to exaggerate it too much. Of course, part of obsession is normal when couples meet for the first time, when they fall in love with each other for the first time. A degree of obsession is kind of normal. But when it goes too far, obsession really takes away someone's personhood. You know, it makes them a desirable object for you to have, enjoy, or make your life better in some way. And that can be that can end up quite dysfunctional. You know, you have a lot of relationships, long-term relationships, even, where it's about utility, you know, where one person is using the other, or perhaps they're using each other, and that rarely goes in a good direction, you know, psychologically. Of course, taking the same idea and going a bit deeper, the film is also talking about ideas of like limerence and fantasy and projection. For those of you unfamiliar, the term limerence is this idea again, it's it's kind of another way of describing obsession. So people can identify someone as a limerant object, in other words, something that they become obsessed with. Again, the term is limerant object, seeing someone as an object, not as a person. And the the danger of this particular process, limerence, fantasy, projection, not only are you objectifying another person, but you're also projecting all of the good onto them. A lot of times people do this where they disown all the good aspects that they could, you know, bring to the table in life or in a relationship that they could cultivate, and they're projecting it all onto another person, they're idealizing them, they're constructing a version of them in their head that doesn't really exist, or even worse, constructing a version of their relationship in their head that doesn't even exist. And if there's one of the one thing that I always think leads people into trouble, it's living excessively in a fantasy world. Again, this is something that's normal in healthy quantities. You know, fantasy is kind of a part of being human that we have the ability to fantasize, and fantasy can be useful and it can be enjoyable, but if you're living your whole life in fantasy, then by definition you're being disconnected with reality. And I can't think of a better recipe for things going badly, whether that's in your personal life or in your business life or with your relationships, then living in fantasy and being disconnected from reality. That's a lot of a lot of the interventions we talk about, whether it's like psychotherapy or journaling or coaching or you know, going out of your comfort zone, all of these things are very much at their core about hopefully reconnecting with the reality of a situation. And you do get the sense that Bear is someone that's living in a fantasy, the fantasy that he can delay, you know, telling someone how he feels or never tell someone how he feels and somehow get the relationship that he wants. You get the sense that he doesn't necessarily even know Nikki very well as her own person, and that he just thinks of her as this thing that if only he could bring her into his life, then he would be happy and and he wouldn't have to deal with any of his own problems. Again, it's this disowning of himself and what could be potentially good about himself and what he should cultivate and projecting all of those good qualities onto another person and therefore chasing that other person in this chase, which if it wasn't happening in the context of the film, you would think this is just gonna go nowhere, this is just gonna repeat itself until their friendship fizzes out entirely. That's often how these things play out uh in real life. Ultimately, you know, again, these ideas of fantasy and projection, again, they're gonna happen to most people and most relationships to some degree, and a lot of the challenge of moving from an early relationship into a middle, more mature relationship is dealing with the lifting of that fantasy. You know, you start dating someone and you you construct a version of the life you will live together uh in your heads, and inevitably that fantasy kind of doesn't include all of the flaws that your partner might have or all the flaws that you might have and how those might interact with each other. Uh, and so the challenge of a relationship is staying in it and staying engaged uh and staying enthusiastic and cultivating ongoing enthusiasm even when things get tricky, even when you're finding out each other's flaws and your flaws are colliding in some way. This is key to sustaining a relationship longer than one, two, three years, or at least sustaining a relationship where both people feel that they're getting a lot out of it, overcoming this fantasy and this projection. Because what do people do often when they get into a relationship and it gets into that mature phase and they feel that things aren't living up to the fantasy? Uh, rather than trying to face that forthrightly and engage with it, which I think is possible and can yield very good results, rather than doing that, what people uh often do is they just start to fantasize about being single or fantasize about being with someone else, and then that becomes the new treadmill that they go on that might lead to something like adultery in an extreme case, or just might lead to the breakdown of that relationship, and then the cycle might continue all over again. You meet someone new, fantasize about them, project everything onto them, have the falling-in-love phase, take them for a couple of years, and then things can follow that pattern. So, this is the kind of thing that's important to look out for. You know, Bear and Nikki again, if this film wasn't taking place in a supernatural context, I'm sure they would learn it and figure it out, uh, but they don't, and things have pretty tragic consequences in this film. This leads us nicely, I think, to the next theme, which is the nice guy problem. And we have talked about the nice guy problem on a few different episodes uh in the show. I don't think this problem just applies to guys, but in this film we're looking at it through a guy's point of view. And of course, this is the idea that uh many guys feel uncomfortable with their own aggression or their own ability to assert themselves. Indeed, maybe they don't ever assert themselves. That could be again an aware context, a familial context, a romantic context. They just don't know how to use it, they don't know how to express themselves romantically to a woman in a way that's respectful. They don't know how to go after what they want, they might not know how to like lay down reasonable boundaries for themselves, they don't know they're uncomfortable with taking risks. And so the strategy that they might adopt, and it's a reasonable strategy, is to be like quite agreeable, to be dependable, to be reliable, but to never really express what you really want at your core, especially if that is maybe expressing uh a particularly vulnerable part of you or if it involves taking a risk. So this is the problem of being a nice guy. Now, the nice guy, in my view, is kind of a myth. You know, I think in some sense there are no nice guys because we're there are no nice people because we're all really quite uh aggressive creatures. I think human beings are quite aggressive creatures, and I don't necessarily mean that in a bad sense, I mean we want things. We are the we are the dominant species on the planet. Human beings want things, they want they have goals which they want to pursue, and we can pursue those goals in healthier ways, or we can pursue them in less healthy, more like domineering ways, but nevertheless, we do want to pursue them. And I think if you disown or suppress or repress your your healthy aggression, generally speaking, you're gonna have bad consequences. And I really learned this when I worked uh on a forensic ward during my psychiatric training. I worked on a forensic ward with men who had committed very, very severe crimes. And again, your fantasy about working in a place like that, what you might observe from watching movies, is you you walk onto a ward like that, and you think you're gonna see really kind of quite monstrous, monstrously strong people, like very intimidating people, and sometimes that was true, but mostly what I found was when you really looked at these. Men and you observed how they interacted with themselves and and other people is they were quite weak in a lot of ways. They were profoundly weak in many ways. And I I think in many cases it's actually profound weakness that leads to monstrous acts, profound discomfort with self, profound discomfort with one's relationship to others, profound discomfort with one's relationship to the world. These are the kinds of processes taken to an extreme level that can lead to extreme acts of violence, self-harm, things like that. And this is again what you see in this film. So Bear is weak in the sense he doesn't know how to assert himself romantically or even really assert himself in the world. And even when Nikki gives him the perfect opportunity to express how he feels, he he can't do it.

SPEAKER_02 22:52

Nikki, wait, I was gonna ask you, um what? I I lost my train of thought.

SPEAKER_00 22:59

And it's in that moment of weakness that he resorts to the one wish willow. In his mind, at the time, he probably did think it wasn't gonna work. And again, you can relate to it to some degree. It's this sense of, well, I can't do it myself, I need help, you know, I need to use this object to try and wish this thing into existence. Again, that is such a symptom of living in fantasy, wanting to wish something into existence. Uh, and up until up until this point, you can probably relate to Bear's character, but once Nikki is transformed and she's under this spell and she's obsessed with him, and you continue going down this path with Bear, it becomes increasingly difficult to relate to him, and increasingly difficult to be on his side, because from the events of the film, it becomes pretty clear again that Nikki is an unwilling participant, that this spell is very this spell is very corrupting, she's in a very, very bad position, and yet Bear continues to go along with it, and he continues to try and see if he can make this new version of reality work. The other thing I did find relatable is the sense in the film that sometimes we do something wrong, don't we? We do something wrong, and we hope we can somehow make that wrong thing work, but we know in our heart of hearts that it's not going to work, and we persist with it anyway. Now, obviously, the events in this film are pretty extreme, but again, the sense of I've I've done something inherently wrong, I've started from a wrong starting point, and I'm gonna try and make it work anyway, and of course, it never really works. And what you're seeing is a guy who has never really cultivated his strengths, he's never really cultivated his healthy aggression, and it's from this point of weakness that he does one act that's you know, moment of weakness, and then a series of increasingly more disturbing acts following that, you know, ignoring all of the feedback from his friends, telling him, you know, I think you're going in the wrong direction with this.

SPEAKER_01 25:02

It's weird how you two are dating all of a sudden, like super dating.

SPEAKER_00 25:07

Another sign that perhaps you're not going down on the right path if everyone in your life is telling you you're not, and things get worse from there. So there is no nice guy. Being nice in certain contexts is great, being nice is great for a position of strength, and actually being in a position of strength will put you in a much better position to be nice. But what someone should avoid doing is being nice as a strategy to be liked. So that's the key distinction. You should be nice for its own sake because it's nice to be nice, it's nice to be generous, it's nice to help people, but the nice guy issue is when you're nice as a strategy because you don't really feel good about yourself, and you think you'll feel good about yourself if people will like you, and if you and you think if you're nice, then people will like you. So that's the key distinction that you need to make. And of course, as I said before, it's not just a problem that affects guys, there are many women who are also hyper-agreeable, and I think it's something that many, many people in a modern society need to think about because modern society does tend to promote this kind of excessively, in my view. And I think not everyone, but many of us could benefit from developing a bit more of an edge and a bit more of a willingness to take risks, you know, say what we want and step outside of our comfort zone a little bit. And the last theme we're talking about when it comes to this film is the theme of validation and identity and how relationships affect that. You know, do we need relationships, especially romantic relationships, to feel good about ourselves and to strengthen our identity? And I think I'm a bit 50-50 on this. You know, human beings are relational creatures, relationships are an essential part of what it means to be human, and that's why it's such a problem that we are living in much more atomized, isolated societies, much more isolated existences, because relationships are so central to human psychology. So, in a way, I don't buy into the lone wolf idea that we should be able to be totally independent islands free of relationships. That doesn't really make sense. On the other hand, I don't think it makes sense to look to relationships, especially a single romantic relationship with one particular person as our sole source of feeling good and our sole source of self-worth. I think that's always a very, very risky thing to do. Yeah, when it comes to self-worth, as I've talked about, you know, I did a whole podcast about self-hate and self-worth in the past few weeks. So if you're interested in that, you can check it out. But I generally think it's worth going through a process of figuring out what it is you care about and then trying to make that sense of what you care about, that sense of your own values, into a reality. So maybe you really, really do enjoy helping people. Maybe it brings you a lot of fascination and engagement and joy, and then you make that into a reality in some way in your life. That could be something as simple as volunteering at a local community center, or could be going into a helping profession, like being a teacher or someone in healthcare or something like that. So you're figuring out what you're about, and there'll be lots of different things you're about, and then making those things into a reality, and then that kind of process is, I think, very powerful for attracting people and bringing people into your life. For most people, a lot of what they will care about will be related to other people, and so it's kind of an inevitable consequence of working on this kind of stuff that you will be able to form connections with people. Again, similar to the nice guy thing, I think the mistake is looking for other people as a well of self-worth you draw from. Like if another person uh approves of me, then I feel really good about myself. I don't think that's the right part. You want to contribute to other people and care about other people, but not depend on any one single person for your validation, or maybe even just depend on people in general for their approval. The best book about this, of course, is The Courage to Be Disliked, which is a book I've talked about before on the podcast. And again, it generates these very, very fine distinctions between living your life for the approval of other people versus living a life of contribution and self-examination where you think about what's important to you, make that a reality, and part of that often is contributing to other people and contributing to society. And doing that, you'll find some people will like you, some people will dislike you, most people will be indifferent to you, and that's okay. As long as you're not doing anything extreme, of course, as long as you're not trying to provoke people, which actually some people do have that problem. Some people actually try and provoke people and get their dislike, which is a whole other kettle of it's a whole other kettle of fish. The key is that you're not other people's opinions about you aren't your orienting principle, they're not your radar, they're not your map or your North Star? What you're you're building and cultivating your own intuition as to what makes sense and how to live life, and that will for many people involve contribution, and then you know, some people will love you for it, and some people won't, and that's fine. Maybe the last thing I'd say is could this film be especially relevant for a younger audience, uh, maybe a Gen Z audience? And I would say probably yes, and the reason why is I think you know the problems spelled out in this film have been plaguing young people forever, and again, if it's not happening in a supernatural context, it's mostly fine and harmless, and people grow out of it. But I think young people now are especially vulnerable to these kinds of problems because you know, we talked about fantasy earlier, we now live in a fantasy world, like social media is a fantasy world, video games are a fantasy world. Increasingly, we have the technologies that allow us to live in a bubble and live in a fantasy. People are increasingly getting into relationships less, it appears, and having less first-hand relationship experience. And when you have less experience, first hand experience again, that lends itself to living in a fantasy life. Having that experience makes more people prone, more men prone to that nice guy problem because they never figure out how to express themselves romantically, therefore, more likely to be nice guys or nice girls. What someone, you know, a few decades ago might have experienced in their late teens, early 20s, possibly some people are still experiencing this dynamic in their late 20s, early 30s, and beyond. So if you're a young person listening, go watch this film and learn the lessons from this film. They're actually really cool. And I think the key practical takeaway for me would be get that first-hand experience, you know. Go out, take risks, uh, respect people. Obviously, you're always going to be thinking about consent and making sure that uh a relationship you form with someone is a win-win. But beyond that, get as much experience as you can, make mistakes, especially when you're young, because that is how you get out of the fantasy world and into the reality world and learn exactly what dating is about and what getting into a relationship is about. And then once you're in a relationship and you're out of that first phase of the relationship, the falling in love, obsessional phase, don't run away straight away. See what it's like to actually be in a relationship with a real flawed three-dimensional person and see if you can keep that enthusiasm and that common vision you might have had with that person as your North Star and build something with them despite the flaws, and then you get into much richer territory, I think, in terms of relationship. And I hope to discuss some films later that have uh that explore what it's like to be in that more kind of flawed, deeper, medium to long term relationship. If you haven't watched this film, go watch it. I'd really recommend it, you know, as long as you're not too easily traumatized by a film. Ultimately, this film is asking what a romantic relationship is really about, and it has a lot of rich material there. Other films I would recommend, you know, kind of in this vein of interesting horror films that have a lot to say. I would recommend Saint Maud, which is actually the I think maybe the first film I ever discussed on the podcast many years ago. You could probably look that up and still find it. The Substance, which came out in 2024, Weapons, which came out last year, Backrooms, which just came out a few months ago. If you're watching on YouTube, do like, comment, and subscribe. So YouTube is where we're putting all of our content now, and we actually want to become kind of a YouTube first podcast. So if you mostly listen on Apple or Spotify, do head over to YouTube and find us there. All of our new episodes are coming out there as full length videos. If you have any feedback, leave comments. We're open to suggestions for different films we could discuss and different topics we could discuss in our regular episodes. In the meantime, thank you so much for listening and I'll see you here next time.