Everyone Else Burns Season 1 Review – This sweet comedy about family dysfunction will tug at your heartstrings

This sweet comedy about family dysfunction will tug at your heartstrings

Episode 1:  -| Review Score – 4/5
Episode 2: -| Review Score – 4/5
Episode 3: -| Review Score – 4.5/5
Episode 4: -| Review Score – 4.5/5
Episode 5: -| Review Score – 4.5/5
Episode 6:  -| Review Score – 4/5

When Simon Bird was promoting ‘Everyone Else Burns,’ everyone characterized the sitcom as “a show about doomsday and Christian puritanism.” Well, everyone except Bird himself who kept reiterating how it is so much more. In fact, after having watched all the episodes, I can confirm that Bird’s analysis is on point. This British sitcom uses religion as a metaphor to advance its heartwarming, sweet, and sincere story about universal family dysfunction.

Its representation of this dysfunction manifests in the steady character development. The arcs are relatable and revolve around issues like parenting and the burden of dealing with overbearing parents.

Everyone Else Burns has a niche setting – the Divine Order of the Rod in working-class Manchester – and yet is imbued with ubiquitous themes. Bird plays David Lewis, the apparent patriarch of the Lewis family. They are devout Christians and lead their lives with inspired religious spirit. However, beneath the traditions and sheath of moral appropriateness, Fiona (wife), Rachel (daughter), and Aaron (son) deal with very real, human issues that plague their daily lives.

David’s imperfections often create a rift between him and the other family members. His lack of self-awareness, emotional maturity, and impish disposition are the foremost characterizations in this saga. When it comes to character comparisons, David exhibits qualities similar to Dwight Schrute and Michael Scott (The Office). Although not nearly as emotional, David’s wound-up egotistical and deluded beliefs often lead him astray from life’s real problems.

Fiona’s enterprising business acumen outmatches the industry of her faith. Once she gets a taste of money and independence, Fiona isn’t afraid to spread her wings. Her disconnect and frustrations with David unravel as the series progresses, revealing her unhappiness and loneliness.

Rachel discovers her feelings and human flaws when she comes across Joshua. He has been exiled from the Order and just talking to him threatens Rachel’s position. But despite the risks, Rachel gradually becomes aware of the significant upsides of befriending Joshua and ultimately taking a liking to him.

Aaron’s suppressed anger manifests in his disturbing and violent drawing. Although he is a gifted artist, Aaron’s issues are concerning. These increase manifold because David is incapable of rectifying them.

With that description, Everyone Else Burns might come across as too sombre to our readers. But for the most part, that is not the case. The sitcom is definitely serious about these characterizations. It is not as saccharine as its American counterparts, nor does it excessively adjust to suit the mummified “modern viewer.” But the storytelling is light and upbeat. Season 1 boasts some genuine laugh-out-loud moments, which is rare for genre offerings these days.

The jokes and humour do not come at the cost of offensive potshots or lowering the standard of the writing. Dare I say, the writers masterfully use the uniqueness of the setting and the context of the story to eke out chaotic hilarity. It is infectious and heartening, warming us up to the characters. Each episode features an eventful storyline, thus bringing Everyone Else Burns closer to traditional sitcom territory. The show does hold an overarching narrative right through to the finale, which will serve as a bedrock for Season 2.

Although it is not high on the priority list, the show pokes unintended fun at Judo-Chrisitan traditions that have fallen way behind the times. The Orders are essentially cults with archaic beliefs and preachings. Elder Samson’s obstinacy is symbolic of his faith. Keeping a lid on free will doesn’t quite work with modern advancements in thinking orders and that is exactly what happens with Rachel.

The cast of Everyone Else Burns is the best thing about the show. Simon Bird and Kate O’Flynn truly disappear into their characters. Their portrayals are convincing and authentic to the hilt. Both actors bring their experience to the fore, latching on to their funny nerves almost instantly. O’Flynn, who will be seen in Landscapers shortly, chooses a steely face and dry delivery to bring out Fiona’s sternness. Smart direction and staging bring out her character’s inner desire for freedom.

Everyone Else Burns finds the perfect balance between prickly purgatory and a poignant coming-of-age narrative. It is arguably the best sitcom of the year, one that we’re sure our diverse reader base can relish without any hiccups or estrangement.

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