Oneitiscel
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‘Obsession’ and the Rise of Incel Horror: When Men’s Entitlement Becomes the Monster
‘Obsession’ and the Rise of Incel Horror/Terror: When Men’s Entitlement to Women's Bodies Becomes the Monster
msmagazine.com
When I first watched Curry Barker’s Obsession, I assumed the horror was obvious. Not the supernatural curse at the center of the film but the decision that sets it in motion. The story of a man deciding he is entitled to a woman’s love, to a woman’s body, regardless of her autonomy.
Online, women have begun calling this kind of story “incel horror.” Particularly on TikTok, women for the first time are naming a terrifying and longstanding element in horror films left unsaid. The nightmare is an acceptance of rhetoric that frames male heroes or victims as deserving of the ownership of female bodies.
Feminists viewers recognize the true horror as Bear’s expectation that he is owed her affection so much so that he is right to use a supernatural entity to gain it.
Throughout the film Nikki’s magically-induced love escalates to obsession and outright murder: from creating a sandwich with the remains of his recently deceased cat, to threatening self-harm if he does not agree to sleep together. Meanwhile, their mutual friends—Ian (Cooper Tomlinson) and Sarah—grow concern about Nikki’s increasingly erratic behavior, wondering if Bear is using her. In a particularly horrifying scene when the ‘real Nikki’ is temporarily lucid from the spell (claiming that the part of her that is obsessed with Bear is still asleep), she begs Bear to kill her, only for him to refuse and remain deeply hurt that she would rather die than be with him.
“Incel horror” describes films in which the true source of terror is not a monster or supernatural force, but a man’s sense of entitlement to women’s bodies, attention or affection. Obsession fits squarely within this practice.
“Incel horror” has roots in older Puritanical horror traditions. For decades, slasher films like Halloween and Friday the 13th often treated teenage sexuality as something to be punished, with sexually active characters frequently meeting violent ends. Amid the sexual revolution of the late 20th century, these deaths reinforced a familiar moral lesson that the “final girl” who survives is often the one who abstains from sex or delays it.
Director and writer Barker admits that he did not make Obsession with “incel horror” in mind, initially not even knowing what an incel was. “I didn’t think of it that way when I wrote it,” he told The Guardian, “He [Bear] just makes some bad decisions but I think it starts from a really innocent place. It’s what he chooses to do after that that’s bad. Embarrassingly, I wasn’t even familiar with the term incel until someone brought it up to me.”
The admission by the director is all you need to know about this preposterous take concocted by the misandrist radfem who penned it. It was never intended to provoke such a topic, but people are nevertheless spinning it as a woke issue for their own ulterior motives.
Growing up, I watched movies with similar themes such as Fatal Attraction, and while I fully understood that what the cheating man did was innitially immoral, the fact that the obsessed woman went to great lengths to fuck with his family only proved that she was the worst out of two evils. And my same impression back then is automatically applied to this latest title. The woman in Obsession takes it miles further by literally murdering people, but my demographic is supposed to be villainized by the likes of the author under the guize of a new genre of "horror"? Screw that! I will continue to wish a girl would love me back until the day I die!





