Hello folks and welcome to Multiversity Comics’ weekly review of I Am Not Okay with This, the coming-of-age Netflix original series co-created Jonathan Entwistle and Christy Hall, based on the graphic novel of the same name by Charles Forsman. This week, we look at the debut episode, “Dear Diary….” As always, we’re going to discuss everything from production design and cinematography to the acting, script, and soundtrack. Please be warned, however, there may be occasional spoilers.
1. Wait, Have I Seen This Before?
Prior to co-creating, writing and directing Not Okay for Netflix, British born filmmaker Jonathan Entwistle created, produced and directed The End of the F*cking World for the U.K.’s Channel 4. Notably, both series are also based on source material by American alt. comics creator Charles Forsman. Unsurprisingly, with the same key players at the helm of both projects, the two series look and feel strikingly similar. From the snarky, soul-baring narrative tone to the protagonists’ overtly expressionless, deadpan reactions, the same darkly comedic, angst ridden vibe unites the characters and the worlds in which they live. There are even rumblings of Easter eggs and subtle references in future episodes that strongly suggest everything takes place concurrently, in an actual shared timeline. Could there be a pitch for a crossover event sitting on someone’s desk right now…? Entwistle has said no, but either way, the two series feel like twins separated at birth.
2. Welcome to the Mind of Teen Protagonist Sydney Novak
Like his debut series, Entwistle frames the story within a first-person perspective. From the opening scene to last, protagonist Sydney Novak – depicted wonderfully by Sophia Lillis – delivers a caustic yet highly revealing interior monologue that simultaneously anchors and contextualizes key scenes. Nothing here is objective. We are inside Sydney’s head, privy to her innermost thoughts, opinions and desires and she’s definitely not holding back. When we first meet her acquaintance Stanley Barber, for example, she says, “Where I feel shitty about basically everything about myself, Stan is the master of zero fucks.” With one simple line, we learn a lot about Stan and get greater insight into Sydney’s self-image, not to mention a glimpse into what she wants. Similarly, after a scene in which Sydney’s overworked single mom Maggie rushes off to work at the diner, leaving Sydney in charge of her little brother Liam, Sydney summarizes their dynamic by saying, “It really doesn’t matter what we’re talking about. Mom and I could sit in silence for the rest of our lives and she’d still annoy the crap out of me.”
3. The Quirky, Timeless Aesthetic of Small Town America
From Sydney’s brown corduroy jacket to the retro looking posters and charts in her high school classroom – not to mention the floor-to-ceiling wood paneling that covers the walls of the convenience store – the show seems to take place in some kind of atemporal land that time forgot. Numerous other details, like the monochromatic sign on the front of the hardware store that looks unchanged since the 50s, the wooden booths at the diner, and warm sepia light tones throughout Sydney’s house reinforce this somewhat confusing meta-retro aesthetic of perpetual timelessness. Ironically, one of the few things that tells us the story is set in the present is when Stanley says he has Bloodwitch’s new album on vinyl, implying it’s merely one choice among multiple formats.
4. Of Course, There Will Be Tropes
At this point, it’s probably damn near impossible to make a teen dramedy without leaning on at least the occasional trope. What, then, is the difference between paying homage to other decidedly classic coming-of-age movies, incorporating too many tropes, and simply resorting to tired, worn out clichés? It’s probably hard to say – and certainly somewhat subjective – but also fair to note that Not Okay does all three in its debut episode. No doubt, the opening scene is a clear but respectful nod Carrie, immediately spiking our interest, begging all kinds of questions and unequivocally hooking us in. Sydney’s mom, by contrast, seems like the unmodified product of a 99 cent character generator app: a single mother of two – an older girl and a younger boy – who’s perpetually exhausted by her thankless job at the diner, wallowing in wine and crappy TV at the end of another long, unexpected shift. At the far end of the spectrum, when smarmy “golden boy” Bradley Lewis cracks wise to the teacher about “the holding of an erection” in front of his high school classmates, it feels utterly uninspired, stale and lazy. Like there’s no other choice but to make the protagonist’s best friend’s boyfriend and unrepentant lout, especially when the protagonist seems to have sexual feelings for her same sex best friend.
5. All Killer, No Filler
All told, episode one of Not Okay clocks in at a mere 19 minutes, and two of those are credits. Honestly, I appreciate the decision not to pack the series debut with unnecessary filler just to hit some kind of arbitrary, predetermined running time. It’s definitely compact, but it also does everything it needs to do. The scenes are tightly structured and well balanced – revealing exposition, introducing characters, setting the scene, and getting the plot underway. After just 17 minutes, we already have a clear sense of what’s driving the action and who the key players will be. At the same time, there are plenty of open questions, tantalizing clues, and intriguing possibilities. Visually, the cliffhanger is a bit underwhelming, but Sydney’s voiceover ends things with a bang, all but guaranteeing you’ll be back to see what happens next.
