
'Obsession's Chilling Restaurant Scene Has A Secret Reference You Probably Missed
When it comes to Curry Barker’s Obsession (2026), there’s one scene that went viral even before the movie premiered. Yes, I’m talking about the “no, no, no” diner scene. In the viral scene, Bear is having dinner with Inde Navarrette’s character, Nikki. When he questions her about something she said, she turns chilling, her continued “no’s” terrifying Bear and also the audience watching. The scene, without a doubt, caught people’s attention and got them into theaters. But it also sparked a conversation about how similar the scene was to one in Jordan Peele’s 2017 film Get Out.
In Get Out, a young Black man visits his white girlfriend’s parents for the weekend, and there’s a simmering uneasiness about their reception that throws him off. While Daniel Kaluuya gave an immaculate performance as Chris, it’s their very own “no, no, no” scene featuring Betty Gabriel’s Georgina that terrified audiences in the same way that Navarrette’s did.
But how does the Obsession scene compare to the one in Get Out? And what actually happened to Georgina that has people seeing a similarity between her and Nikki that goes beyond the “no, no, no’s?” Here is what Navarrette said about that and the many movies that inspired Obsession below!
How Does The ‘Obsession’ Scene Compare To The One In ‘Get Out’?

At the restaurant, Bear confronts Nikki about lying about her father having cancer. She stops, her entire demeanor changing, before starting to say, “No, no, no.” As the scene passes, the “no’s” get louder and more intense, terrifying Bear. It reaches a climax when she stands up and declares that he’s not going to do that and that they are having a good time.
In Get Out, Chris has a conversation with house staff member Georgina about a mishap with his phone. She steps into the room and proceeds to explain what happened, with Chris assuring her that he wasn’t trying to snitch. She doesn’t understand, and they go back and forth, her demeanor stiff yet cordial and kind of terrifying.
Chris says, “All I know is that sometimes, if there’s too many white people, I get nervous, you know?” When the camera pans back to Georgina, her smile slips away, her eyes start watering, and her breathing becomes shaky. Then, like a switch is flipped, she starts smiling and laughing while saying, “No, no, no.”
Both the scenes with Navarrette’s Nikki and Gabriel’s Georgina are characterized by a questioning of their reality by someone else. It feels like that short-circuits them for a moment. They become more vulnerable and make the person questioning them notice that something is wrong. But that moment of vulnerability from Nikki and Georgina is over quickly, as a stronger force overtakes them and firmly denies the initial question asked by Bear or Chris.
What Happens To Georgina In ‘Get Out’?

In Get Out, Georgina is one of the staff members who works for the father of Chris’ girlfriend, Rose. Right from the jump, there’s something off about Georgina. She’s stiff in demeanor, and her politeness feels forced on top of the dated vernacular. What’s actually happening with Georgina is that she’s possessed by one of Rose’s family members, Marianne Armitage. She’s the grandmother of Rose and the sinister matriarch of the Armitage family, but also a member of the Order of the Coagula. This Order is basically practicing a modern-day slave trade, where Black people are brought to the family by Rose under the guise of meeting the parents. The Order bids on them. Then, the “winner” possesses the body, leaving the original owner to sink into the “Sunken Place.”
As Chris pieces together that something bad is happening with the Armitage family and begs Rose to leave the house together, he notices an open door in their room. Suspicious, he opens it and finds a box of photos inside. In it are photos of Rose with other Black men, proving that she lied when she said she’d never had a Black boyfriend before.
When he reaches the end of the stack of photos, he finds an intimate-looking photo of Rose and Georgina. This proves that Rose also dated Black women and that she lured Georgina to the Armitage home, proving that Rose is an active participant in their evil. It also gives context to the “No, no, no” scene, as that was the real Georgina emerging from the Sunken Place, aware and in pain at what is happening to her and her body.
What Did Inde Navarrette Say About The Viral ‘Obsession’ Scene?

In a video interview with A Shot Magazine, Navarrette shared a list of movies that the cast watched before filming Obsession. These acted as inspirations for Nikki but also helped them understand Barker’s horror vision.
They watched Hereditary (2018). That one terrified her to the point where she said, “Every single time that I walked into a bathroom, I would just look up.” She was referencing a haunting scene featuring Toni Collette’s character, Annie, hanging in the rafters and sawing her head off with a piano wire. That movie helped Navarrette understand the tonality of Obsession.
They also watched Pearl (2022), which was a huge inspiration for Nikki as a character. Navarrette said, “I love Mia Goth. The way that she portrays her characters, you go, ’I understand you.’ That’s what I wanted people’s response to Nikki to be.” And you can see the intensity of Pearl in the scenes where Nikki yells, “Why don’t you love me?” and when she’s yelling at Bear to say that he loves her.
Then, there’s the viral diner scene. Navarrette referenced Get Out as one of the movies they watched before filming and said, “There is a scene in the diner where we’re saying ’no.’ And there was this scene in Get Out where a person is underneath another person.” Navarrette went on to say in the digital write of the interview with A Shot Magazine that Get Out also “focused a lot on the moments where characters are showing an emotion underneath, but saying something completely different, and how horrific that is.” And you can tell that she took those lessons to heart, the real Nikki peeking through being some of the most horrifying moments of Obsession.













