British Comedy Guide

Press clippings Page 2

End Of The F***ing World almost finished differently

"The other version left it more unlikely that James was alive. There was some ambiguity but in the version that was used it's very ambiguous. I really like that because it means we can do a second season."

Cult Box, 11th April 2018

The End of the F***ing World: season one review

The End of The F***ing World captures the exact feeling of angst, anger, hurt and confusion of being utterly out of control in your own life.

Becky Kukla, The Digital Fix, 29th January 2018

Review: The End of the F***ing World

Two troubled teens hit the road together, committing crimes that result in them becoming murder suspects...

Dan Owen, Dan's Media Digest, 12th January 2018

The End of the F***ing World review: episodes 1 & 2

The setting of the show is a little mixed. While it inherently appears to be British, there's a somewhat American feel to some of the locations, particularly when the pair walk home.

Han Hunter, Cult Box, 31st October 2017

Why everyone should watch The End of the F***ing World

I had only intended to watch one episode of new comedy drama The End of the F***ing World on All4 but before I knew it I'd seen the entire series. I've been known to binge but never to this extent. I've never watched an entire series in one day. I felt an instant connection to the lead characters, which is a little worrying as one is a self proclaimed psycho and spends the first half of the series plotting the death of the other.

Luke, The Custard TV, 31st October 2017

What captivated more [than Stranger Things], however, was an easily missed programme on Channel 4. Despite its asterisk-heavy title - I had inwardly sighed; not another wacky dystopian angry youths road trip - The End of the ****ing World was mesmerically fine.

Blackly and bleakly comic in parts, this adaptation of a graphic novel had grand scripting, production, filming, locations and the rest, but all were utterly outshone by the two young leads. Alex Lawther, best known for his phenomenal young Alan Turing in The Imitation Game, haunted throughout as the confused maybe-psycho with a fat knife down his sock. Jessica Barden, as the gobby, sweet, foul-mouthed innocent, was never less than convincing, either in her beyond-her-years cynical wisdom or sudden wee-girl vulnerability. These two runaways, from boredom, from adults, from actually having to manage to tackle sex, had so many winning ways about them I was almost physically urging them on toward the sunlit uplands, where of course it all went wrong. A dirty, hard watch, and wonderful.

Euan Ferguson, The Observer, 29th October 2017

The End of the F***ing World: review

I know that TV is subjective - one man's University Challenge is another man's TOWIE - but I just didn't like this programme, and here's why. Swearing should be like salt - a little can add flavour to a scene, too much makes it unpalatable - and this is overladen with profanities. The flashes of knives and blood are a little wearisome. However, Alex Lawther and Jessica Barden, who play James and Alyssa, bring a certain pathos and charm to their roles.

Nicola Murphy, Telly Binge, 29th October 2017

The End of the F***ing World review

It's so dark that you can barely make out the humour at all - and yet this adaptation of Charles Forsman's comic is totally convincing.

Sam Wollaston, The Guardian, 25th October 2017

Preview - The End of the F***ing World

Channel 4 is showing the first episodes of this new comedy drama on TV before making the rest of the series online only.

Ian Wolf, On The Box, 24th October 2017

Based on the comic by Chuck Forsman, this show, stripped across the week, finds Alex Lawther and Jessica Barden as misfit teens James and Alyssa. Alyssa is looking for someone with an edge amid stultifying suburbia and she finds it in James. Sadly, he's a budding psychopath who is looking for someone to murder. Which creates a queasy dynamic for a black comedy - there really had better be a good reason for it down the line.

Ben Arnold, The Guardian, 24th October 2017

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