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 episode two, “The Master of One F**k.” As always, our wide ranging, free flowing discussion could touch on anything from the cinematography and acting to editing and production design, not to mention the script and the soundtrack. Please be warned, however, there may be occasional spoilers.
1. The Morning After the Night Before
The debut episode ended with Sydney “boiling inside,” beyond frustrated with her clueless, emotionally unavailable mother, Maggie. As Syd seethed alone in her bedroom, on the verge of a total meltdown, the plaster wall behind her spontaneously split open with an audible crack. Glancing over her shoulder to survey the destruction, she confided, “Maybe I am way more fucked up than I thought.”
As episode two begins the following morning, Sydney moves her dresser to hide the damage she inadvertently caused the night before. Notably, a small portion of the crack remains visible above the repositioned dresser – a conspicuous visual metaphor for all the world to see. Syd tries to brush it off, musing internally, “That’s just what happens in a shitty house with a shitty foundation,” but we know she knows better. We’ve seen the largely unspoken, heartbreaking dysfunction between Syd and her mother. We know the cracks are deep and not easily repaired.
Also, if you really want to piss off your daughter, don’t just make her go buys groceries after school, tell her to change her sweater because she’s making you look bad, and you’re a self-proclaimed “friggin’ good mom.”
2. The World’s Absolute Slowest Automatic Car Window
Of course Stanley drives a big, boxy whale of a late model sedan. Less predictably, perhaps, his car also features excruciatingly slow automatic windows. No worries, he still makes it work. As Syd walks to school down the middle of an empty residential street, Stanley pulls up beside her in his pale orange Ford Fairmont. From there, director Jonathan Entwistle and actor Wyatt Oleff turn what could have been a fairly straightforward, almost throwaway scene into a subtle comedic gem.
Obviously, the awkwardly chivalrous Stanley wants to give Syd a ride to school. They both know this right from the start. The actual dialogue, then, is a mere formality. There’s no subtext or complexity. Stanley’s objective is clear.
Typically, this kind of scene might be shot in lingering, tongue-tied close-ups laced with plenty of ums and ahs and stuttery, halting lines. Instead, Entwistle cuts the scene into numerous miniscule beats, allowing Oleff to play off and subtly respond to Sophia Lillis’s painfully deadpan reactions. Unfazed, Stanley remains in control the entire time, waiting for the window to open the exact right amount before eventually saying hi, later asking Syd to join him with charmingly awkward nod toward the empty passenger seat. Stanley may be a loner and a bit of a social misfit, but his gawky, geeky charisma is irrepressible.
3. Bloodwitch, Am I Right?
With it’s homemade cinder block bookshelves, kitschy furniture, old school stereo system and carefully curated selection of pop culture ephemera, Stanley Barber’s bedroom is a media connoisseur’s paradise. He tipped Sydney off to Bloodwitch in the first episode and it’s a damn good recommendation.
Turns out the very real Britpop legend Graham Coxon, founding member and guitarist of Blur, is the driving force behind the show’s fictional band. Previously, Coxon worked with Entwistle on the score for The End of the F***ing World. So, when Entwistle needed a song to prove why Bloodwitch is worthy of Stanley and Syd’s attention, naturally he tapped Coxon. The result was an instant classic: the haunting, Jesus and Mary Chain-esque dirge “Fly.” From there, Coxon just kept writing, more Bloodwitch songs at first, but then an entire backstory and narrative arc for the fictional band’s fictional career.
Episode two gives us “Hey Little Girl,” a bass-heavy retro banger with cutting, garage rock guitar and brilliant, girl-group inspired vocals by 16-year-old Tatyana Richaud – daughter of the show’s editor, Yana Gorskaya. As Stanley pulls up in his car, “Hey Little Girl” is barely audible, presumably playing on the Fairmont’s stereo. As he and Syd pull away, the song suddenly goes full volume, providing a briefly euphoric, fleeting sense of freedom. Whether navel-gazing at night alone in your bedroom with your headphones or roadtripping off to school, Bloodwitch knows what you need.
Continued below4. Ferris Bueller, Meet Stanley Barber
In my attempt to respond to what’s on the screen and not turn this into a meta-commentary about my reactions to other people’s reactions, I’ve diligently avoided reading other reviews and opinion pieces. Even so, I’ve seen plenty of passing references to Entwistle’s homages and references to iconic moments from various John Hughes films. I imagine this may turn into a bigger, more comprehensive discussion, but at this point my clear favorite is when Stanley introduces himself to the nearly wordless cashier Kelly and shakes her hand with confidence befitting Ferris Bueller as he races home at the end of his epic day off.
5. Methinks Stanley Barber Doth Protest Too Much
The vast majority of episode number two focuses on Stanley on his budding relationship with Syd. It’s well worth noting, however, that Stanley ropes Syd into attending the high school football game. Stanley may try to wax poetic about the tragic, Shakespearean spectacle of it all, noting that this is the highpoint for small town jocks like “Mr. Bradley Lewis.” When Brad is injured, however, Stanley’s sudden concern rings true and his applause feels authentic. Dina physically runs down the down the sideline, as though she’s compelled to run out and take care of Brad. If only for a moment, it seems like Stanley might feel the same impulse. Perhaps the real tragedy is that guys like Stanley Barber can never get the attention of the high school quarterback.
Sidenote
I grew up with vinyl records. I love the way they sound. But even I wouldn’t argue that VHS, as a format, has any redeeming qualities, let a lone that it’s somehow preferred. Kids, don’t let Stanley lure you into a life of tracking nobs and rewinding the tape when you’re done. You deserve better than that.
