Showtime’s The End Feels Like It Never Will | TV/Streaming

With a core that reminded me of what the excellent “Better Things” does so well (and so much better), “The End” focuses on three generations of women. It opens with a suicide attempt by Edie (Harriet Walker), who is then ushered off from her home in the U.K. by her daughter Kate (Frances O’Connor), and thrown into a retirement community. Edie is a ball of resentment, a woman who is ready to say goodbye to the mortal chapter of her life not because she wants to join her recently deceased husband but because she’s just done with everything. The chipper retirement community is the last place she wants to be, although “The End” doesn’t seem interested enough in turning Edie’s neighbors into actual people with the exception of one friend that she makes who tries to push her out of her comfort zone.

The balance between Edie’s arc and Kate’s feels overly scripted. You see, Kate is a doctor who specializes in palliative care. Yes, the woman whose mother wants to die knows a lot about the final stages of life. In the premiere, one of Kate’s patients makes it clear that she no longer wants to keep fighting, telling her doctor that she’s going to kill herself. Kate refuses to let this happen, and the show plays with themes of a doctor’s role in assisted suicide, but barely commits. They’re more like dressing instead of actual thematic exploration, especially after the patient from the premiere ends up dead and Kate struggles with the role she did and did not play. There’s something off about turning the death of a patient into a journey for that patient’s doctor, although O’Connor is effective. (She’s always been a bit underrated.)

The scenes with Kate’s family feel similarly over-scripted. She has two children, the outgoing Persephone (Ingrid Torelli) and a trans son named Oberon (Morgan Davies). The two children are skeletons on which to hang subplots about troubled adolescence like Persephone getting her first period or Oberon wanting to have gender reassignment surgery. None of it feels real. All of it sounds written.

It’s one thing for a sitcom to feel over-produced mostly to provoke a response, but I find it especially galling when its story has such important subject matter. Supporting trans youth, navigating the natural end of life, a physician’s role in assisted suicide—these are not easy themes, and yet they’ve been turned into such cheap devices here. O’Connor and Walker are very good, and they clearly would have been up to the challenge of tougher, deeper material. In the end, it’s a shame that no one bothered to give it them.

Five episodes screened for review.


You can view the original article HERE.

Porsha Williams Meets Her Fans On Tour
‘I don’t have a family now’
Single All the Way Gay Dating Advice Cuffing Season
Dr. Oz to Run for Senate in Pennsylvania
Life of Crime: 1984-2020 movie review (2021)
Breakin’ ReAction Figures From Super7 Will Turn Your Christmas Into an Electric Boogaloo
Extreme Empathy: An Appreciation of the Films of Jimmy Chin and Elizabeth Chai Vasarhelyi
Jason Reitman Reveals Father Ivan’s Secret Cameo in Ghostbusters: Afterlife
Tion Wayne x Russ Millions top the UK’s Top Music Videos of 2021 – Music News
Royal Blood announce 2022 North American tour
Rihanna honoured as National Hero of Barbados – Music News
‘Cyberpunk 2077’ to receive “major update for all platforms”
Cowboys’ Hill suspended two games for punch
Panthers’ McCaffrey done for year due to ankle
Panthers bench Cam in blowout loss to Dolphins
‘Embarrassing’: Sullen Steelers swept by Bengals
La Brea Season 1 Episode 10 Review: Topanga
Fanatic Feed: Men in Kilts Season 2, Real Housewives of Miami Trailer, & More!
Vikings Sequel, Raising Dion Season 2, & Others Get Netflix Premiere Dates
Watch 4400 Online: Season 1 Episode 6
Fashion Stocking Stuffers Under $50
Nuuly Subscription Clothes Box Review
Getting Artsy! The Daily Front Row’s Art-themed Holiday Issue Lands Today
Virgil Abloh’s Most Memorable Celebrity Looks