Come on Netflix, can’t you come up with a better idea for a movie than one that promotes murder, violence, moral filth, rebellion, hatred and the dark and, even at times, the satanic side of human nature?
In your view, are people so starved for new forms of entertainment that you have to descend to the very bottom of your moral septic tank and scrape some sewage up and make a movie out of it?
What? Are you kidding me? Do you really think that we’re buying the idea that you’re trying to resonate with the rebellious teenager in all of us though this trashy film? Give me a break! How many teenagers, even in our day, consider punching out their parents, stealing the family car and then running off with their pretend girlfriend, so they can knife her to death? You morally disgusting perverts and haters of all that is decent even portray this as being normal in choosing average looking actors to play the part. This is morally repugnant!
And what about all the broken and hurting kids out there that do have legitimate mental health problem because of their broken families, the bizarre mores they’re being force fed from their schools and society, and as a result of all the pre-scribed and non-prescribed drugs they’re taking? Instead of reaching out to help these kids, you (i.e. Netflix) are giving them yet another reason to act out their lower nature aggressions and angst, and then excusing your actions by calling it “entertainment.” Shame on you! We’re not fooled. We know that you hate God, the Bible and family. You are of your father the devil, who, as Yeshua/Jesus said,
Ye are of your father the devil, and the lusts of your father ye will do. He was a murderer from the beginning, and abode not in the truth, because there is no truth in him. When he speaketh a lie, he speaketh of his own: for he is a liar, and the father of it. (John 8:44)
Instead, let’s follow the advice of Paul, the apostle,
Finally, brethren, whatsoever things are true, whatsoever things are honest, whatsoever things are just, whatsoever things are pure, whatsoever things are lovely, whatsoever things are of good report; if there be any virtue, and if there be any praise, think on these things. (Philippians 4:8).
At the same time, let’s
[H]ave no fellowship with the unfruitful works of darkness, but rather reprovethem. (Ephesians 5:11)
I leave you, dear reader, with this question:
Who will rise up for me [i.e. Elohim] against the evildoers? or who will stand up for me against the workers of iniquity? (Psalm 94:16)
It’s time to vote with our feet and pocketbooks and to cancel our Netflix subscriptions!
“The End of the F***ing World,” a TV series that premiered Friday on Netflix, joins a growing number of shows exploring the fringes of adolescent tumult. Among them: “Riverdale” (The CW), which plunged the gang from Archie Comics into a noir murder mystery; “Runaways” (Hulu), in which a group of high schoolers balance everyday angst with a friend’s death and burgeoning superpowers; and “13 Reasons Why” (Netflix), a teen suicide drama that made waves last year in schools and families.
Even “Stranger Things,” Netflix’s sci-fi series set in the 1980s, tapped into the trend by pitting a group of prepubescent children against a horror from another realm.
Maybe it’s due to an evolution of teen storytelling tropes, a reflection of uncertainty and anxiety in the real world, or an effort by producers to match the mind-set of young viewers who have already seen it all on the internet—but the genre is processing harsher stuff than the high-school crushes and crises that typified “Sixteen Candles” and other hormone-steeped classics of past generations.
“There’s more of an appetite to go to darker places,” says Charlie Covell, who wrote the “End of the F***ing World” TV series. She says teens are grappling with many of the same issues they always have—alienation, confusion, familial discord. Now, though, there’s an “open forum” for exploring them thanks to an explosion of content and a blurring of lines among genres.
“The End of the F***ing World” is based on a graphic novel published in 2013 by an American author and artist, Charles Forsman. Executive producer and director Jonathan Entwistle developed it as a TV series for Netflix and the U.K. network Channel 4, which aired it last fall. Its eight episodes come in binge-able installments of about 20 minutes each.
The TV series starts in a bland British suburb, where Alyssa (played by Jessica Barden) and James (Alex Lawther) are outsiders who use each other to test the identities they’ve invented for themselves. She acts the part of a promiscuous rebel. He considers himself coldblooded, a serial killer in the making.
The show shifts perspectives between the two characters, using their inner monologues to highlight the disconnect between what they say and what they think. As Alyssa and James go from odd couple to runaways to fugitives from the police, the story turns into a modern Bonnie-and-Clyde tale. Songs by Hank Williams, rockabilly singer Wanda Jackson and others bring echoes of past eras.
If the show’s title doesn’t immediately weed out squeamish viewers, the opening scenes could, as James describes a childhood of numbness and killing animals.
But the tone is more cartoonish than grim, with breezy narration and whimsical montages that seem to reference Wes Anderson films like “Rushmore” and “The Royal Tenenbaums.”
“It’s not a laugh,” Ms. Covell says, “but it’s a wry moment that let’s you say, ‘OK, this is a comedy.’”
It’s not the first black comedy to mix teen emotion with homicidal urges. “Heathers,” a 1989 film starring Winona Ryder and Christian Slater as star-crossed sweethearts who bump off high-school classmates, has been remade as a TV series that will appear on the Paramount Network in March.
Ms. Covell, 33 years old, says it wasn’t difficult to get back into the adolescent mind-set as she wrote.
“As a rule, everybody struggles as a teen, so the inner monologue is fairly indelible,” she says. “It doesn’t take much to tap into those old insecurities and paranoias.”