The Gender War Over ‘Obsession’ Has Come for Theme Parks

The recent decision by Universal Studios to feature Nikki, the lead female character from the hit horror film Obsession, as a roaming scare actor in their Halloween Horror Nights event has sparked a heated debate. Fans and critics have claimed that portraying a victim of abuse as a frightening figure is in poor taste.

This concern is rooted in the notion that Nikki represents a real-life victim of sexual assault. By depicting her as a character to be frightened or reviled, Universal Studios may be seen as trivializing the pain of those who have been subjected to such abuse. However, this argument ignores the fact that horror fiction has long served as a reflection of our collective anxieties and societal ills.

According to Gretchen Felker-Martin, an acclaimed horror author, “horror movies are about our cultural anxieties.” In the case of Obsession, these anxieties revolve around vulnerability and women’s agency. By having Nikki embody this concept, Universal Studios is tapping into a deep-seated societal concern.

The controversy over whether viewers understood that Nikki was the true victim has devolved into finger-pointing and moralizing. Some have taken the debate to an absurd level, prioritizing outrage over nuanced discussion. This misplaced outrage may be a symptom of our increasingly fragmented society, where social media platforms amplify every voice and make it easier to shout down opposing views.

The inclusion of Nikki in Halloween Horror Nights may seem like a crass commercial move, but it also represents a missed opportunity for Universal Studios to tackle the issues that Obsession raises. By reducing horror fiction to mere spectacle, we risk ignoring its purpose: confronting our darkest fears and anxieties.

In an era where high art and lowbrow entertainment are increasingly blurred, creators like Universal Studios should push the boundaries of what horror can do. They could have sparked a meaningful conversation about the role of women in society by engaging with the complexities of Obsession, rather than simply capitalizing on its success.

As Felker-Martin observes, “horror asks us to sit with this.” Instead of trivializing or mocking the pain and fears that horror fiction represents, we should be using these stories as a mirror to reflect our own anxieties. By doing so, we might just find ourselves face-to-face with the true horrors that Obsession has to offer – not the character of Nikki, but our own reflection.