irected by Jaclyn Jose, Baby Reindeer, a seven-part mini-series, offers a transfixing yet unsettling account of trauma, mental illness and the complexity of human emotions. It is not a series for the faint-hearted. Adapted from Richard Gadd’s one-man stage show, Baby Reindeer is a chilling real-life narrative of Gadd’s painful ordeal of being stalked and harassed over several years.

At first glance, Baby Reindeer may appear to be a dark comedy but it swiftly evolves into a harrowing tale. Gadd takes on the persona of Donny Dunn, leading viewers through a gripping narrative filled with horror and unease that persists well after the credits roll. His portrayal of Donny, a struggling comedian wrestling with personal demons, is raw and authentic.

Baby Reindeer wastes no time in establishing an unsettling atmosphere. Gadd’s alter ego, Donny, is thrust into a nightmarish scenario when Martha, portrayed with bone-chilling realism by Jessica Gunning, fixates on him, surpassing the limits of sanity. She infiltrates his life with relentless emails and persistence, blurring the line between admiration and obsession. As her behaviour shifts from disturbing to outright terrifying, Donny becomes trapped in a vortex of fear and self-destruction.

The series opens with Donny seeking help from the police, exhausted and agitated by Martha’s incessant stalking. As the story progresses, viewers are taken back six months to witness the gradual escalation of Martha’s fixation on Donny. From her initial appearances at the pub where he works to her intrusive presence in his personal and professional life, Martha’s actions become increasingly disturbing.

Gadd adeptly portrays Donny’s inability to establish boundaries, leading to a chaotic downward spiral. His backstory reveals a disturbing relationship with a mentor, Darrien, played by actor Tom Goodman-Hill, whose manipulation and exploitation cast a long shadow over Donny’s psyche. The portrayal of drug-induced vulnerability and subsequent assault is gut-wrenching. It highlights the complexity of power dynamics and the lasting impact of trauma.

Donny’s relationship with Teri, played by Nava Mau, provides glimpses of hope amidst the darkness. However, this connection is marred by his internal struggles and self-destructive tendencies, again underscoring the pervasive nature of trauma.

As the series progresses, Donny’s emotional turmoil peaks during a stand-up comedy performance, where his raw portrayal lays bare the effects of trauma on identity and relationships. His confession, which goes viral, is a comment on fame and scrutiny, inflaming his vulnerability.

Baby Reindeer, at its core, is a rumination on trauma, resilience and the human capacity for both cruelty and compassion. Despite its heavy subject matter, the series is not devoid of humour

The resolution, while not providing easy closure, presents a touching reflection on the cyclical nature of abuse and how empathy can bring about change. Martha’s revelation about her nickname for Donny, i.e. Baby Reindeer, showcases their shared experiences of trauma and strength. The closing scene, reminiscent of the kindness Donny once showed Martha, captures the theme of compassion in the midst of despair.

The brilliance of Baby Reindeer lies in its unfiltered honesty and unflinching portrayal of trauma. Gadd does not shy away from depicting the psychological toll of stalking, showcasing the impact on Donny’s mental health and relationships. Martha’s actions compel Donny to confront his role and responsibility, blurring the boundaries between victim and perpetrator. Moreover, the series explores gender dynamics and societal expectations, flipping the traditional narrative of male perpetrators and female victims. Gadd challenges stereotypes and prompts viewers to confront their own prejudices.

Visually stunning and impeccably shot, the chilling mini-series adopts a cinematic style that heightens the tension and unease. Jose employs unsettling close-ups and disorienting angles to immerse viewers in Donny’s world. This creates an atmosphere of claustrophobia and paranoia, resulting in a series that feels more like a psychological horror story than a traditional drama.

Baby Reindeer, at its core, is a rumination on trauma, resilience and the human capacity for both cruelty and compassion. Despite its heavy subject matter, the series is not devoid of humour — Gadd injects moments of dark comedy into the narrative, providing a brief breather from the intensity of Martha’s stalking. These moments serve to underscore the central themes rather than detract from them, adding depth and complexity to the story.

Not to mention, Gadd’s courageous portrayal of his own experience is both haunting and cathartic. It offers a rare glimpse into the psychological aftermath of stalking. Through its confrontation of uncomfortable truths and defiance of societal norms, Baby Reindeer cuts across the confines of traditional television and emerges as a powerful work of art.

Baby Reindeer is undeniably a difficult watch; it is also a very important one. The script compels viewers to confront uncomfortable truths about human nature and the depths of human suffering. With its raw honesty and uncompromising exploration of trauma, Baby Reindeer cements Richard Gadd’s status as a bold artist, fearless in confronting the darkest aspects of human existence.

The author is a freelance contributor