The End of the F***ing World Isn’t Nearly As Bleak As It Looks. Jen Chaney, Vulture
Well, without the italics, it probably would be as bleak as it looks. But with italics it’s just a great Netflix series that caught my attention via a review headline.
The End of the F***ing World turns out to be a very binge-able eight episodes, of 20-ish minutes each, about bonded misfit teens James (Alex Lawther) and Alyssa (Jessica Darden).
So, what’s their deal? As you read the following series intro from Rob Lowman (Los Angeles Daily News), keep Sophie Gilbert‘s words (The Atlantic) in mind: it’s “a surprising tour de force, mashing up the pitch-black humor of British alternative comedies with the visual punch of an auteur-driven indie film.” Pitch-black humor, of course, is not for everyone’s tastes.
James and Alyssa are your average 17 year-olds, except James really wants to kill someone and Alyssa is about to blow at any moment.
When they meet, Alyssa, who is struggling with manic depression, says this about James, ‘I’m not saying he’s the answer, but he’s something.’ James sees her as somebody who would be ‘interesting to kill,’ so he pretends to be into her.
James, you see, thinks he may be a psychopath—and has valid reasons to think so that he’ll illustrate for you in quite brief but stomach-churning scenes.
Sonia Saraiya, Variety, notes additionally that both James and Alyssa are “full of fury: At their parents; at their stupid small town; at the other idiots in their school.”
Watch the (warning: NSFW) trailer for The End of the F***ing World:
If still intrigued, read more from Daniel Fienberg, Hollywood Reporter, about where and how this all goes:
…The End swings wildly between deadpan hilarious, shockingly violent and a sweetness that’s occasionally just as shocking. It’s not a tone that will hit with every viewer, but you’ll know pretty quickly how much you’re able to forgive, much less embrace, and then The End keeps pushing into murkier and murkier complications. Nothing in the narrative is all that surprising. What’s satisfying is how even the outlandishness is grounded in the two main characters and defended through extensive and candid internal monologues that serve as counterpoint to the characters’ halting getting-to-know-you conversations.
Kevin Fallon, The Daily Beast: “For all their coldness and cynicism, both clearly just want to feel and to experience. There’s a sort of blanket sadness and compassion surrounding both characters, which is an interesting antidote to their saltiness and reckless behavior.”
Importantly, we do learn more about each teen’s upbringing and how they came to be where they are. Saraiya: “…(W)hat emerges is a portrait of two characters who find in each other a refuge from an uncaring and often cruel world. Our teenagers can be violent, but as the show makes clear, violence has also been heaped upon them…”
Do you think you now get the gist of this series? If not, you’re not alone. “The best thing about ‘The End of the F***ing World’ is that it’s hard to describe,” notes Saraiya. “It’s funny, and it’s sweet; it’s violent, and it’s romantic. Its leads are both reprehensible and totally sympathetic; both scared kids and responsible adults.”
In addition to garnering much enthusiasm from viewers, including an 8.5 on IMDB, The End also has a phenomenal retro soundtrack featuring songs from a wide variety of genres.
Wanna know how it all winds up for James and Alyssa? Just look at the title, says Jen Chaney in the aforementioned Vulture review. “[It] tells us pretty clearly,” she states, “that this show won’t have a happy ending. But even in its tragic moments, there are still glimmers of loveliness in The End of the F***ing World. You just have to be patient, and watch closely, to fully see them.”