A troubled young man meets a misunderstood girl. Themes of lack of affection, living with trauma, and marginalization inhabit the atypical romantic madness of this addictive two-season Netflix series.
Just days after its release, ‘Baby Reindeer’ has become the most-watched series on Netflix this month. The harrowing account of bullying, aspiring to be the best show of the year, has secured a spot in the global top 5 and the #1 position in Spain. Scottish comedian and writer Richard Gadd pens and stars in a visceral, authentic mini-series based on his own experiences, which skillfully navigates a complex and precise study of trauma. With just seven episodes, the unsettling true story of ‘Baby Reindeer’ has already captured the hearts of the audience, who were quick to notice similarities with another Netflix hit: ‘The End of the F***ing World’.
The comparison is no coincidence. It turns out that, in addition to a gloomy atmosphere, complex and unpredictable characters, and an exploration of human suffering, the two series also share the same production team. Clerkenwell Films, the company behind both Netflix ventures, has a stamp of quality. According to Rotten Tomatoes, the series has a 94% positive review score and a 92% audience reception. The premise? A troubled young man meets a misunderstood girl.
James is convinced that something is not right in his head. He’s 17, has zero friends, and an unhealthy obsession with killing innocent animals in the woods. In his attempt to fulfill his desire to kill a person and start his career as a serial killer, he meets Alyssa. She’s fed up with the world, feels like she doesn’t fit in, and craves a more intense, rebellious, and aggressive way of living. Until James comes along. The problem is, he sees Alyssa as his first victim.
What appears to be a romantic comedy soon descends into madness, extravagance, and a constant addiction to pushing the boundaries of political correctness. But make no mistake, it’s still a love story. The series, with eight episodes of around twenty minutes each, is based on Chuck Forsman’s graphic novel and shows us what it truly means to be a teenager.
Themes of lack of affection, living with trauma, and marginalization inhabit the atypical romantic madness of ‘The End of the F***ing World’. The characters played by Alex Lawther and Jessica Barden become the Bonnie and Clyde of the 21st century – outlaws in love with the dark humor (and very British) that surrounds them, set to the rhythm of classics like ‘At Seventeen’ by Janis Ian or ‘Laughing on the Outside, Crying on the Inside’ by Aretha Franklin, which sets the tone in the first episode.
Although it was overshadowed by the vast content available when it first appeared on television, the two seasons managed to find an international audience a year later on Netflix. And it did so on its own terms. The episodes were compact and straightforward, the style irreverent, and the finale a tribute to the graphic novel’s legacy, maintaining a delicate balance between pain and affection.
Fortunately, the central love story was much sweeter than the violent environment should have allowed, resulting in a delectable treat for the boldest of hearts. Because if this production proves anything, it’s that we are feelings and we have human beings.
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