REVIEWS
Similar to something like FUNNY GAMES or even something like THE COLLECTOR (1965), THE STREAMER is a novel, modern, incredibly tense, and thematically rich thriller project about mediocrity, masculinity, and misogyny. Thriller fans might be interested in the script’s powerful initial premise and tense plot, while a wider audience could be interested in the script’s takes on the manosphere and the voyeuristic nature of streaming/watching a streamer, as well as some of the project's other exciting themes. Thriller projects are popular, and it’s possible that there could be a significant audience for a project like this one. The characters are very strong, and it’s possible that established actors could be interested in the roles, perhaps raising the script’s visibility. The budget could be one of the script’s biggest selling points. It takes place almost entirely in a single room and has no real special effects, so it may only require a low or even micro-level budget, opening up many avenues for funding. It’s possible the script could even get optioned in the future.
— The blacklist
The writer has created an outstanding premise for a tight thriller project that ruthlessly disassembles the manosphere, streaming culture, and the “incel” worldview. Most of this is accomplished through Reid, the script’s outstanding villain (though he would never admit it). The writer has managed to make Reid both utterly detestable and pathetic while simultaneously showing him as an almost comedic character thanks to his own naivety and foolishness (for instance, his plan to become a streamer leaves much to be desired), clearly setting him up as some sort of cautionary tale. Camila is his opposite: smart, motivated, and with a family that actually loves her, which creates some excellent friction as the story progresses.
— The Blacklist
Using livestream format as both stage and pathology is genuinely sharp. Reid’s identity only exists in performative mode; even his crimes are curated. He isn’t motivated by sadism or ideology, he wants content. That’s more contemporary and more disturbing. The screenplay understands that modern violence often isn’t “private”; it’s broadcast for validation.