Is There a Television? Exploring Reality and Identity in Jane Schoenbrun’s “I Saw the TV Glow”
Jane Schoenbrun, the filmmaker behind “I Saw the TV Glow,” believes in creating films that challenge viewers. Their debut film, “We’re All Going to the World’s Fair,” explored queerness and online culture. Their sophomore feature, “I Saw the TV Glow,” delves into gender dysphoria through the lens of 90s pop culture, capturing a unique and radical perspective. Acclaimed director Paul Schrader even lauded Schoenbrun as the “most original voice in film in the last decade.”
Schoenbrun wrote “I Saw the TV Glow” after their “egg crack,” a term used in the trans community to describe the moment of self-realization, and during their early hormone therapy. The film follows teenagers Owen (Justice Smith) and Maddy (Brigette Lundy-Paine), whose shared obsession with the fictional TV show “The Pink Opaque” intensifies when the show is canceled, blurring the lines between their lives and the television world. This mirrors Schoenbrun’s own teenage fascination with “Buffy the Vampire Slayer.”
Schoenbrun describes the filmmaking process as surreal, akin to “pulling off some kind of existential bank heist,” given the deeply personal and visceral nature of the film, exploring a trans experience rarely depicted on screen. The characters of Owen and Maddy represent two sides of Schoenbrun’s internal struggle with gender identity: the fear of change and the courage to embrace it. Owen embodies the desire to cling to the familiar, while Maddy embodies the willingness to journey into the unknown and become one’s true self.
Director of Photography, Ava Berkofsky, on the set of “I Saw the TV Glow,” capturing the film’s unique visual language.
Schoenbrun’s path to filmmaking was deliberate. Recognizing the challenges of creating personal work in Hollywood, they chose to make “We’re All Going to the World’s Fair” on a micro-budget to maintain creative control. The success of that film paved the way for “I Saw the TV Glow,” allowing for a larger scale production while retaining the same boldness and authenticity.
The film’s unique portrayal of trans experience has resonated with audiences. Schoenbrun consciously avoids traditional cinematic tropes, striving to capture the internal and intangible nature of dysphoria. They draw inspiration from the surrealism of David Lynch and the body horror of David Cronenberg, seeking a visual language that reflects the liminal experience of trans identity. Schoenbrun notes that the “classic idea of being sad and longingly gazing into a mirror” is a Hollywood construct, far removed from the complex reality of dysphoria.
The film explores the nuances of gender transition, acknowledging the challenges and trauma associated with un-repressing one’s true self. Schoenbrun emphasizes that the “egg crack” moment is not a magical beginning but rather a catharsis, followed by a difficult journey of self-discovery and healing. While Owen’s ending may appear cautionary, it’s meant to depict the complex and often terrifying reality of confronting one’s true identity.
Jane Schoenbrun directing Ian Foreman on the set of “I Saw the TV Glow,” a film exploring themes of identity, obsession, and the blurring lines between reality and television.
The classification of “I Saw the TV Glow” as a horror film is a subject of debate. Schoenbrun acknowledges the film’s use of horrific tones to reflect the darkness inherent in the experiences being explored. However, they resist strict genre categorization, viewing genre elements as tools rather than defining characteristics of their work. The goal is not simply to scare but to delve into the complexities of internal experience, finding beauty in what might be perceived as grotesque. The film’s emotional resonance and exploration of identity transcend simple genre labels. For Schoenbrun, sharing such a personal film with the world is a mix of anxiety, relief, and pride, hoping it opens doors for future projects that continue to push boundaries and explore complex themes.
