![]() ![]() ![]() Yes, it’s a dark comedy about one person dealing (or not dealing) with trauma and addiction, but it’s also a tender love story about two people learning how to be together in a healthy way. In fact, there are so many things “Feel Good” gets right it’s a wonder how seamlessly it all comes together, without a single issue outweighing another. It seems almost silly to single out the sex when “Feel Good” is navigating so many other issues. It’s probably the only TV series ever to show queer sex in all of its creativity, style, and playfulness - while still being pretty damn hot. While not its sole mission, the sex-positivity that permeates “Feel Good” is a huge breath of fresh air. Needless to say, it doesn’t take long for Mae to win George back, and the two make fast work of a delightfully ridiculous roleplay montage that involves gender-bending knights and heavily accented plumbers. Out of the frying pan and into the fire.īack in London, Mae’s English rose George (Charlotte Ritchie) is nursing her heartache with new fling Elliot (Jordan Stephens), a so-called enlightened polyamorous bisexual who fails to see the irony in mansplaining women on emotional maturity and internalized misogyny. Before the end of the first episode, Mae escapes rehab in a fit of panic into the arms of an old friend named Scott (John Ross Bowie), who triggers something dark in Mae. While a longer, more drawn-out version of “Feel Good” (the kind favored by American shows “Feel Good” first aired on Channel 4 in the UK) would have remained at rehab at least into the second episode, delving deeper into the wacky roommate and tough-love addiction counselor, “Feel Good” opts out of this and packs all of its punches into a concise six episodes. Heralding the arrival of a truly singular creative force, it’s one of the best queer shows of the year. The second season of “Feel Good” is fiercely - sometimes frighteningly - brave, complex, and painful, but always damn funny. If Season 1 of “Feel Good” introduced Martin as a sharp wit with a unique perspective, Season 2 marks their glow up into full-blown comedic truth-teller in the vein of Hannah Gadsby or Michaela Coel. Much more important than any label one could foist upon Martin is the fact that they’re both brilliantly funny and courageously honest, a killer combination for explosive, incisive, and compelling television. Of course, simply being queer and a comedian doesn’t magically confer greatness. Which, as their fictional agent says in Season 2 of “Feel Good,” Martin’s semi-autobiographical dark romantic comedy on Netflix, is all the rage these days. It stands to reason that Mae Martin, a queer comedian, would have some funny things to say about trauma. Humor as a coping mechanism for trauma is a tale as old as time, and all it takes is a quick glance at any decent comedy lineup to see that the cool queer kids practically rule stand-up these days. It’s no secret that comedians are some of the world’s most traumatized people, perhaps rivaled only by queers. ![]()
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