Shame on Netflix! How is this edifying anyone?

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!


Teen TV Genre Takes Adolescent Angst to a Darker Place

Two 17-year-olds go from odd couple to runaways to fugitives in ‘The End of the F***ing World’

In ‘The End of the F***ing World,’ James (Alex Lawther) considers himself a serial killer in the making.
In ‘The End of the F***ing World,’ James (Alex Lawther) considers himself a serial killer in the making. PHOTO: NETFLIX
The next romantic teen comedy with hit potential has a modified F-bomb in its title and two unconventional 17-year-old characters at its heart. He’s a self-diagnosed psychopath looking for his first murder victim. She’s his unwitting target with a destructive agenda of her own.

“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.

James and Alyssa (Jessica Barden) go from odd couple to runaways to fugitives from the police in ‘The End of the F***ing World.’
James and Alyssa (Jessica Barden) go from odd couple to runaways to fugitives from the police in ‘The End of the F***ing World.’ PHOTO: NETFLIX

“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.’”

Jessica Barden, right, and Christine Bottomley in The End of the F***ing World
Jessica Barden, right, and Christine Bottomley in The End of the F***ing World PHOTO: NETFLIX

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.”


Is this really necessary in today’s gender confusion climate?

This is just what we need—one more television show to promote gender confusion and to break down the two classifications of humans that the Almighty Creator made: male and female.

So God created man in his own image, in the image of God created he him; male and female created he them. (Genesis 1:27)

Elohim created male and female, husband and wife as the foundation for accomplishing His divine purposes on this earth. From a marriage between a man and a woman come children. It is the lofty and Elohim-ordained goal of parents to produce children, and to teach them His ways of of life, wisdom and truth, which, hopefully, will result in all of them  being adopted into the divine and eternal family of Elohim.

From healthy, Elohim-oriented marriages and families come strong, vibrant, morally and spiritually solid societies. The biblical record and secular history show this to be a true pattern. It also demonstrates that with the breakdown of the family, including genders, comes confusion, licentiousness, moral breakdown, lawlessness and criminality, depravity, rebellion, anarchy and, eventually, the collapse of the society. Those who fail to learn the lessons of history will be condemned to repeat the mistakes of history and to suffer the consequences thereof.

So why is Hellywood producing television shows that promote gender confusion? Give me a massive break! Aren’t there a million other things that television producers can depict a young boy doing other than crossdressing? It’s because behind most of the entertainment industry is a bunch of Satanic God- and Bible-hating, morally depraved hedonists. Make no mistake. For them it’s all out war against anything that’s good and decent and promotes biblical values.

Turn this garbage off and resist this moral rot every way you can. That’s why I got rid of my television years ago.

After boycotting the filth, let’s resolve to be a force for good. Parents, let’s help our children to embrace and even celebrate their Elohim-given gender, and help them to express who they are as His unique creation without encouraging them to color outside the lines of their particular gender. 

No matter how politically incorrect it may be, those of us who hold to the divinely revealed and transcendent standards of the Bible must work hard to instill these values in the next generation, and give them good reasons to resist the tsunami of moral depravity that is trying to overtake and drown us.


ENTERTAINMENT WEEKLY: Does Mark see himself as a girl?  
SARA GILBERT: He doesn’t. That’s something that got out in the press that’s not true. He’s not a transgender character. He’s a little boy. He’s based on a few kids in my life that are boys who dress in more traditionally feminine clothing. He’s too young to be gay and he doesn’t identify as transgender, but he just likes wearing that kind of clothing and that’s where he is at this point in his life.


How much do you address his desire to wear girl’s clothing?
There is an episode that addresses it. He dresses that way throughout the show, but there’s one episode that focuses on it more heavily. We did a lot of research because we wanted to make sure and do it properly. This character is not transgender.

What made you want to create this character?
It represents the world. This is a show that’s always been able to represent the world and talk about it without being so issue-heavy. We can do it through the dynamics of the family. I know kids like that and it seemed like a great character. One kid in particular that I know is so sweet, funny, charming, and great. In a way the character— that’s one element of the character that he dresses that way, but he’s also based on this kid I know in a lot of other ways. I don’t want to pigeonhole him and say just because he dresses this way that’s the only thing about him. He happens to dress that way but he’s an amazing, creative, brilliant kid, which you will see, and so is the kid, Ames, who plays him.