The story of a stalker. More broadly, the study of how unstable people find each other and do further damage to themselves and others.
A true story written and performed by Richard Gadd, who once felt bad for a strange woman spinning tall tales at his workplace one day. What happens next is a tragedy of errors immortalized in text, film, and police reports. Along the way, Richard grapples with the growing awareness that he might (in fact) be part of the problem in his own life, and an active source of harm to others. Drama ensues.
This series directly addresses themes of pity, self-loathing, and vulnerability. More authentically, "Baby Reindeer" represents life with a personality disorder through the eyes of a sufferer.
The principal theme appears to by "pity," both as the condition the Author feels for his stalker and the technique by which he maneuvers through life or manipulates others into meeting his needs. It is this same pity he requires from us, the audience: both in his fantasy routines as a sad clown comedian, and the actual effect of this series. Richard needs us to feel bad for him as a victim of circumstance/grooming/stalking as an excuse for his admitted neglect and mistreatment of those unlucky enough to wander into his path.
While "Baby Reindeer" is well-acted and thoughtfully composed, the Author's manipulation of the audience detracts from its quality. The startling absence of any personal growth or redemption arc leaves us feeling like we've been cornered by a burned-out narcissist at a bar instead of leading us to a moral conclusion about life, relationships, or the development of virtue. It is abundantly clear this man needs serious help - not just from a "therapist" he found on a dating website, but probably an actual psychiatrist who can help level out the extremes in his thinking/behavior long enough to respond to talk therapy. This is the extent of my pity for the Author and his potentially wasted life experience.
Bonus points for accurately illustrating modern-day London as a dark and depraved cesspool of Babylonian proportions.
A true story written and performed by Richard Gadd, who once felt bad for a strange woman spinning tall tales at his workplace one day. What happens next is a tragedy of errors immortalized in text, film, and police reports. Along the way, Richard grapples with the growing awareness that he might (in fact) be part of the problem in his own life, and an active source of harm to others. Drama ensues.
This series directly addresses themes of pity, self-loathing, and vulnerability. More authentically, "Baby Reindeer" represents life with a personality disorder through the eyes of a sufferer.
The principal theme appears to by "pity," both as the condition the Author feels for his stalker and the technique by which he maneuvers through life or manipulates others into meeting his needs. It is this same pity he requires from us, the audience: both in his fantasy routines as a sad clown comedian, and the actual effect of this series. Richard needs us to feel bad for him as a victim of circumstance/grooming/stalking as an excuse for his admitted neglect and mistreatment of those unlucky enough to wander into his path.
While "Baby Reindeer" is well-acted and thoughtfully composed, the Author's manipulation of the audience detracts from its quality. The startling absence of any personal growth or redemption arc leaves us feeling like we've been cornered by a burned-out narcissist at a bar instead of leading us to a moral conclusion about life, relationships, or the development of virtue. It is abundantly clear this man needs serious help - not just from a "therapist" he found on a dating website, but probably an actual psychiatrist who can help level out the extremes in his thinking/behavior long enough to respond to talk therapy. This is the extent of my pity for the Author and his potentially wasted life experience.
Bonus points for accurately illustrating modern-day London as a dark and depraved cesspool of Babylonian proportions.
Tell Your Friends