Review | Netflix’s ‘Baby Reindeer’ is More Than Meets the Eye

Netflix’s newest British thriller drama, Baby Reindeer, was nominated for multiple Primetime Emmy Awards. The seven-episode miniseries became an overnight sensation following its release on April 11, receiving rave reviews and almost immediately becoming the number one most-watched show in over 30 countries.

Going in without skimming the description, it’s impossible to imagine that a show with such a cutesy title would be so disturbing and grim. Baby Reindeer is based on the real life experiences of lead actor and creator, Richard Gadd, and draws inspiration from Gadd’s autobiographical, one-man show at the Fringe in Edinburgh. Gadd rechristens himself as Donny Dunn, a twenty-something struggling comedian who works at the local pub to make ends meet. One fateful day, Martha, portrayed by Jessica Gunning, stumbles into Donny’s pub. She is a frumpy, middle-aged woman, evidently upset and unable to afford anything. Donny is overcome by pity and offers her a cup of tea, an offhand act of kindness that triggers Martha’s crazed obsession with him.

At first, Martha’s behavior seems innocent enough, at most eccentric. She begins to visit Donny at work everyday, yapping incessantly, and spewing all sorts of embarrassingly obvious fabrications about her life. Donny becomes strangely addicted to her compliments and flirtations. Even after discovering that Martha has been convicted and imprisoned for stalking, Donny’s fascination with her grows and, despite the warning signs, he remains reluctant to set strict boundaries. Martha’s actions quickly turn overbearing, dangerous even, as she begins to follow and harass Donny and his loved ones. In the end, she sends him 41,000 emails, 350 hours of voicemails, 106 pages of letters, and countless social media messages over the span of a few years.

Baby Reindeer is not an enjoyable watch. Viewers will undoubtedly find themselves distressed and, at times, deeply disturbed by the content. Although labeled a dark comedy, there is absolutely nothing humorous about this show. The aesthetic alone, reminiscent of that of a horror film, conveys a sense of foreboding. Every scene is bathed in dingy lighting and interspersed with uncomfortable closeups and disorientingly skewed angles. This gloominess matches the harrowing central storyline that drives the series, which is depressing and traumatic. In recounting this era of his life, Gadd does not shy away from the grisly details. Baby Reindeer includes brutally graphic depictions of mental illness and sexual assault that can be almost unbearable to sit though.

Nonetheless, Baby Reindeer is as phenomenal as it is upsetting. Gadd and Gunning’s performances are stellar, the camerawork is smart, and the writing is incredibly witty. More than this, though, Baby Reindeer provides an exceptionally nuanced exploration of complex themes, specifically abuse, trauma, gender roles, and the complicated nature of victimhood. Viewers come away from the series disconcerted, but also ruminating important questions.

As an outsider, Donny’s self-destructive decisions are, at first, impossible to understand. He seemingly encourages Martha’s delusions and, initially, refuses to report her to the police. This creates an aggravating and nerve-wracking experience for the audience. As we watch, we might find ourselves chiding Donny, maybe even blaming him for bringing this onto himself. However, over the course of the series we gradually learn about Donny’s past and the traumatic events that have shaped him. Previous trauma has engulfed Donny in a toxic cocoon of anxiety, low self-esteem, self-blame, and self-loathing, which primed him to indulge Martha and their dysfunctional relationship.

All of this is to say that Baby Reindeer is not just a tabloid-esque story about a man being stalked by an older woman. Rather, Baby Reindeer is about how cycles of abuse and victimization perpetuate, about how Donny’s and, it is implied, Martha’s past pain and trauma have paved the way for yet another abusive situation. The show leaves viewers’ heads spinning. In the end, there is no clear villain and no cleanly wrapped up ending. We find ourselves wondering if everybody involved, even Martha, has been a victim all along.