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They spur her on — to doff clothes, spank herself, and so forth — by expending “tip” tokens, for which she’s careful to thank them each en route.
At the start, one mysterious patron uses that economic clout to dare her into a seemingly suicidal act.
Nor is there much (if any) satisfactory resolution to the central mystery.
But the combination of a sex-worker milieu, suspense mechanics and speed-of-the-internet pace should appeal to genre fans looking for something different — but not different — from the norm.
Call it identity theft of a sexy, possibly supernatural kind.
There’s not much depth to this low-budget but resourcefully flashy enterprise, which is hyperactive in presentation to the brink of being grating.
Then something inexplicable occurs: Alice can’t access her own channel anymore, yet “Lola” continues to perform on it.
Not only does she cross lines that are against Alice’s personal “rules,” she makes sure the “real” Lola’s hitherto-oblivious mother (Melora Walters) and younger brother (Devin Druid) discover her secret job in the most embarrassing and damaging ways possible.
The site’s tech support team throws up their hands.
In fact, she barely seems to That pursuit is illustrated in terms that aren’t particularly scary, but have a frenetic drive amped up by all major visual contributors: notably Katelin Arizmendi’s busy lensing, Daniel Garber’s attention-deficit editing, Gates Bradley’s graphics animation, and Elena Lee Gold’s “custom emojis.” They create a colorful, claustrophobic world of instant gratification (or frustration) in which whatever takes place online barely has any relevance, let alone “reality.” (Even when she’s not performing, Alice is constantly glued to one screen or another.) Where this digital labyrinth ultimately leads us, and our heroine, is something of a letdown: The fadeout suggests resolution without ever clarifying just what the hell was responsible for Alice’s ordeal.
Of course, it’s acceptable among many paranoid thrillers to leave the source of the paranoia murky.