Here’s to The End of the Fucking World

August 31, 2018

 “I didn’t know where we were going or when I was going to kill her, but I punched my dad in the face and stole his car and that felt like a good place to start.”

The concept of two teenagers, fleeing and rebelling against their useless parents is not a new one. But there’s something so original about the EOTFW that it doesn’t feel like it’s ever been done before. Set in an ambiguous location and year, the focus of this story is all about the characters.
Based on Charles S. Forsman’s graphic novel of the same name, we’re introduced to burgeoning psychopath, James, who decides to murder the nihilistic Alyssa, during an ill-advised road trip across the UK. Tonally, this show could have easily been a disaster. It’s a coming of age horror, love story and dark comedy, but EOTFW delivers in a way that feels completely honest. In a peep show style homage, James and Alyssa’s thoughts are narrated through-out, often at odds with their dialogue. Introducing James’ empathy, despite his sociopathic nature, and Alyssa’s vulnerable side.
The pacing is also incredible, built on sharp editing that haphazardly moves as quickly as the teen’s thoughts do, and there’s something really authentic about it. In fact, most of the tension, humour and emotional moments, are built on short close up shots. During the second half of the series, there is a huge shift in the tone, edit style and even colours, which supports a clear character arc.
Overall, the show is less than three hours long, and in three hours, what it delivers is nothing short of exceptional. Here’s to The End of the Fucking World.
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