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Entwistle imbues The End of the F***ing World with an ambiguously retro vibe, and one that’s geographically indistinct. The series is set in England, in an unspecified town outside London, but the film has a notably American aesthetic. “If this were a film,” Alyssa says at one point “We’d probably be American.” On their journey, James and Alyssa drive through wooded landscapes and vast open roads, emulating classic heist films like Natural Born Killers. They break into a house that’s a masterpiece in mid-century modern design, in the middle of nowhere. When they decide to change their appearances, Alyssa raids a thrift store and finds a baby-doll dress for herself and a Hawaiian shirt for James, adding to the offbeat visual overtones, and both teenagers have smashed their cellphones, which amps up the analog feel of the show. The accompanying music, which includes original songs written by Blur’s Graham Coxon, adds emotional texture and a kind of wistfulness to the story. wedding wear options for older and mature brides

This series makes blatant efforts to adopt the moody, middle-finger-in-the-air vibe of all kinds of gritty movies, Oliver Stone’s Natural Born Killers also comes strongly to mind. Starts out as a show about two messed-up teenagers James is one, Alyssa is the other — whose frustrating home lives bond them together. They start to maybe fall in love, but first, they decide to take a road trip to escape their awful parental situations. After stealing the car that belongs to James’s dad, Alyssa refuses to buckle up. “Fuck seat belts,” she says, as if this demonstrates the depth of her anti-Establishment streak. More disturbingly, James, who plans to murder Alyssa at some point during their journey, wonders to himself “I wonder what she would sound like when I killed her.”