Feel Good

Although 'Feel Good' delivers on its titular promise as it delves into the realities of a seemingly picturesque love story, the addictive atmosphere that leaves you craving the next episode quickly dissipates after the climactic yet clichéd finale.

---

From the moment the curtains are drawn, Mae Martin and Joe Hampson waste no time on lengthy expository introductions, instead letting the characters speak for themselves as Martin's fictional counterpart takes for the stage. In the next ten minutes Mae meets George (Charlotte Ritchie), the pair share their first kiss (and the rest of the night), leading into a montage of their peaceful yet exciting relationship culminating in Mae's move into George's place. The colourful rollercoaster ends abruptly as George seems weary of introducing Mae to her friends while the latter half is exposed of her previous drug habits; both foreshadowing themes that Feel Good certainly does not shy away from.

On the surface, Martin's semi-autobiographical comedy is a colourful exposition into a young couple's life, both having their own secrets and troubles as they try to figure themselves out. Mae is constantly battling with her addiction to cocaine as she refuses to admit that she still has a problem. On paper, the character is a tad one-dimensional, yet we don't just hear her denial to the truth as she stubbornly changes the topic when George pushes for her to open up; we physically see Mae turn down opportunities to get back on the white horse as the screen strobes like an ancient CRT. On the other hand, George struggles to come out to her friends, consistently lying about Mae to them and never letting the two meet.

Instead of playing out like a somewhat bland and one-sided fantasy where Mae constantly fucks up and eventually pushes George out of her life, both characters are given depth, flaws that create a relationship that feels both rocky and sturdy at the same time. As they try to tackle a problem for the sake of their relationship, the other will instantly point out the massive dick in the shop window they are standing next to in attempt to ignore the cocaine-filled elephant which seems to be stuck in the closet. These small encounters feel like we are watching a memory: the dialogue not only flows with an excellence that keeps us anxiously waiting for the glass to shatter but forces us to shamefully remember our own relationships, the reality of which roots itself deep into the show.

The balance between normal and abnormal... Mae Martin in 'Feel Good'

The central duo's relationship is elevated by some outstanding performances from their personal lives: whether it is Lisa Kudrow as the chillingly cold yet clearly caring mother, or Phil Burges as the mediating flatmate that lives life as the wise and lonely guru, every piece plays a part in creating the electrifying atmosphere of the show. Where Mae and George's lives were shielded from each other in an attempt to seem like the perfect partner, their personal worlds colliding create wonderfully written clashes between both their friends and families. This doesn't exclusively apply to the tense clashing of heads, but also heart warming moments of comedy and embarrassment that drive the plot's beautifully modern tale.

From the moment the gun goes off, the finish line is clearly visible as Mae and George run towards the obvious ending. Yes, the journey was addictively enjoyable, each episode dragging us further into the complications of their love but the couple's climax can be seen from a mile away. Where Feel Good felt like it wasn't just another quaint show to throw onto the fire, the last episode follows the worn-out formula and, while it is in no way contradictory to the characters we have grown to love, it cheapens the final curtain call to what was a well-choreographed dance. Once finished, the whole experience begins to blur together into a series of disconnected scenes that may have been brilliant during their viewing but are now just a forgettable footnote at the back of your mind.