The end of this fucking world

The end of this fucking world

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The story is based on a graphic novel that does include the word Fucking in its name, it shows us an England with a certain post-apocalyptic air, in which citizens are oblivious to the lives of young people, except when it comes to take advantage of them or abuse, these situations contribute to the two protagonists maintain a special relationship that leads them to relate to the extent of being accomplices in the crime.

As usual with this type of series, a series of detractors have already appeared, accusing it of being a childish story, of talking about problematic people or glorifying criminal situations, things that, of course, are mere appreciations that depend on the criterion of each user.

And the fact is that the final part of the story had that sin that some of the series of the new era that are influenced by the factory called Netflix usually have, the open endings, not knowing if there will be a second season (in this case the rumors suggest that yes) the closure must have a cliffhanger, light or pronounced, that allows to continue the plot or close it, but in this case, it seems that more than one was left confused and not knowing what to expect.

netflix series

The End of the F***ing World is a British dark comedy-drama television series based on the graphic novel The End of the F***ing World by Charles S. Forsman. The first episode of the eight-part show premiered on Channel 4 in the United Kingdom on October 24, 2017, then the full season premiered on All 4. The End of the F***ing World was released exclusively on Netflix internationally on January 5, 2018.

Adapted from the graphic novel of the same name by Charles S. Forsman, The End of the F***ing World is a darkly humorous teen series that follows James (Alex Lawther), a self-described psychopath, and Alyssa (Jessica Barden), a rebellious young woman who is fed up with her boring life. The two teens embark on a road trip in search of a better life and to escape their impending doom of adulthood, but as their journey unfolds, it becomes clear that James and Alyssa have crossed the line and have no choice but to take it as far as they can.

the end of the f word season 1

We do not understand too well the commotion that has caused this series. Let’s see if we can explain ourselves clearly and not hurt the fineness of the skin of its countless fans by exposing, one after another, our reluctance to see this parade of nonsense.

One of the scenes that will surely have created followers and with which we ourselves have died of laughter is the following (we emphasize however the fact that we do NOT like Alyssa because these outbursts of unpleasant stupidity can not be explained in any way and leave us no option to understand her so that her figure causes an automatic rejection):

Her second season is totally out of context forcing Bonnie’s entrance on the scene seeking revenge and dragging James and Alyssa into another roadtrip even emptier than the first one was. What would have played in this season is to bring in a more serious, self-confident James who, having brushed with death, would have recognized the importance of feelings and the urgency to have the person he really loves by his side, without further delay, without procrastination of any kind. The experience of the nearness of death must necessarily provoke a change in the conception of reality. Just as old age takes away hairs from the tongue, the presence of an immediate end takes away the tongue of life and gives it facts, and this is a fact that never comes.

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The typical high school nerd eats alone with a blank stare. While ‘Laughing on the outside’ plays in his headphones and he sips from a straw, a girl, freckle-faced and with green eyes full of anger, appears before him. She has just smashed his cell phone. She can’t stand her friends texting her when she’s in front of them. He comes out of his world, full of psychopathic thoughts. He has killed many animals, now he is looking for a bigger victim. He has already found one. Little do they know that they will share a wild escape to ‘The end of the fucking world’.

With a 90’s pop aesthetic, perfect for these times of nostalgia, and a delicious soundtrack, the fiction condenses in eight 20-minute chapters the emotional transit of two young people who only want to discover themselves fleeing, also, from the sweetener-good feeling that Hollywood has sold us.