Something Very Bad is Going to Happen is a new eight-episode miniseries now streaming on Netflix. Created by Haley Z. Boston and executive produced by the Duffer Brothers, it stars Camila Morrone, Adam DiMarco, Jeff Wilbusch, Karla Crome, Gus Birney, Jennifer Jason Leigh, Ted Levine, and Sawyer Fraser.

Rachel (Camila Morrone) is just five days away from her wedding. With her fiancé Nicky (Adam DiMarco), she sets out on a road trip to his family’s secluded vacation home, deep in a snow-covered forest, where they plan to hold an intimate ceremony. It should be perfect—except Rachel can’t shake the persistent sense that something is about to go terribly wrong. Prone to superstition and creeping paranoia, she becomes increasingly unsettled as eerie coincidences and ominous surprises begin to pile up. As her dread intensifies, Rachel is forced to confront unsettling questions: what truly makes two people soulmates? And perhaps more terrifying—what if she’s about to commit to the wrong one?

Part of what makes Something Very Bad is Going to Happen so compelling is how little it reveals upfront. From its blunt, ominous title to its deliberately vague marketing, the series thrives on restraint. Even an early glimpse into the future at the beginning of the show does little to prepare you for where the story ultimately goes, making the experience feel unpredictable in a way that’s increasingly rare.

When it comes to TV, I usually gravitate toward first seasons. There’s a sense of discovery that’s hard to replicate once a show settles into itself. A miniseries, though, doesn’t have that luxury—it has to deliver everything at once. Something Very Bad is Going to Happen understands that, and it commits fully. This isn’t a show you half-watch while scrolling on your phone, and it certainly isn’t one that benefits from distractions. It demands your attention. Turn your phone on silent, put it out of reach, watch it on the biggest screen you have, and let yourself be pulled into the slow, consuming tension of its eight-hour story.

There’s a clear horror undercurrent running throughout, but it’s not traditionally “scary.” Instead, the unease is what gives the story its weight. The series leans into ambiguity, withholding just enough to keep you questioning what you’re seeing. Its imagery is deliberately unsettling, and every scene feels intentional. Even when the cinematography dips into shadow, it’s not obscuring the story—it’s asking you to lean in closer. This is the kind of show that rewards attention, and very likely, a second viewing. It’s hard to imagine this not becoming one of Netflix’s biggest hits of the year.

What unfolds over these eight hours feels like a sustained dive into every possible worst-case scenario. Weddings already come with their own built-in anxieties, and the series leans into that tension without restraint. At times, what happens doesn’t even feel real—more like a heightened, nightmarish version of reality. And yet, that’s where the show’s originality thrives. Beneath the horror and mystery is a rich layer of thematic depth, exploring love, marriage, and the uncertainty of building a life with another person. It’s the kind of storytelling that pulls you in not just through shock, but through recognition.

Camila Morrone has delivered strong work before, but 2026 feels like a true breakout year for her. After appearing in the latest season of The Night Manager, her turn here—arriving so soon after—only reinforces how much range and commitment she brings to her roles. By year’s end, it’s easy to imagine her performance being counted among the very best across both film and television. The demands of this role are immense, and she meets them head-on, carrying the series with a presence that’s both gripping and deeply human.

On a technical level, the show excels. It’s difficult to compare it to anything else I’ve seen—and that’s saying a lot. The score is distinctive and instantly recognizable, while the cinematography aligns seamlessly with the tone, enhancing the sense of unease in every frame. The production and costume design feel deliberate and purposeful, reinforcing the story rather than simply dressing it. Nothing about this series feels rushed. Creator Haley Z. Boston demonstrates a clear, confident vision, crafting a world that feels fully lived-in. Just when it seems like the narrative is heading in a familiar direction, it pivots—consistently subverting expectations through bold, creative choices.

My only real critique lies in some of the early clichés. In the first half, the protagonist’s instinct that something is wrong is entirely justified, and she’s given multiple chances to walk away. While the story eventually provides reasoning for why she stays, her initial justifications don’t always feel convincing. The show ultimately plays with and subverts these familiar beats, but the way it sets them up can feel a bit overused before it fully finds its footing.

Overall, Something Very Bad is Going to Happen stands out as one of the best shows of the year so far. Camila Morrone delivers a true breakout performance, while creator Haley Z. Boston firmly establishes herself as a bold new voice to watch. The series is relentlessly unpredictable—you’ll never quite anticipate where it’s headed, and it lingers long after it ends. From its layered themes to its daring storytelling, it’s a striking example of the kind of originality television needs more of.

VERDICT: 4.5/5 – Amazing