Jahi Di’Allo Winston (left) and Peyton Kennedy
Nostalgia-fueled and neatly presented, the dramedy series “Everything Sucks” takes a look back at the quirky parts of the ’90s through a quiet town, aptly named Boring, while delving into a young teen’s more personal story about coming to terms with her sexuality.
It’s the shared tale of aspiring filmmaker Luke (Jahi Di’Allo Winston) and his first girlfriend, fellow A/V Club member Kate (Peyton Kennedy), seemingly a regular pairing, initially, but it soon becomes evident that the latter isn’t interested in her boyfriend at all.
Kate hides the fact that she’s actually attracted to girls, specifically older student Emaline (Sydney Sweeney), the self-proclaimed premier actress of their school.
Not that the new teen lovebirds don’t have things in common. Luke is being raised by a single mom-flight attendant (Claudine Mboligikpelani Nako), while Kate is the daughter of the principal (Patch Darragh), a widower.
Sydney Sweeney
Their parents hit it off, while Kate figures out how to deal with her secrets and, consequently, her relationship with the smitten young man.
The 10-episode Netflix series, while serviceably feel-good, often gets predictable. Almost every scenario presages specific results that manifest as anticipated, sooner or later. That especially has an effect on the humor—it gets awkward, as the jokes come off as too drawn-out or easy to predict.
The misfit drama, however, is quite watchable, because the competent young actors shine in their respective arcs, able to make the “regular” coming-of-age tropes quite amusing.
Winston is especially promising when his character deals with an estranged father. Kennedy is believable as the plaid-clad, Tori Amos diehard learning self-acceptance. She’s complemented by the intriguing Sweeney, who can rock a Gwen Stefani-inspired getup, while treading the narrow line between gal pal and tormentor.
Despite the predictability, some real-life situations are appropriately depicted as normal, including interracial and lesbian relationships.
“Everything Sucks” may not always be absorbing and surprising, but it captures the zeitgeist and pervading emotional ethos of the era—a more innocent time that this show gets, and fondly remembers.