This is great fun – funny, campy, knowing (not least because of some absolutely ridiculous plot device ‘cheats’ that in any other less-well-written circumstances would be absolutely infuriating, the most extreme of which is a bag from which literally anything can be produced!)
The situation and circumstances of the two central titular characters is introduced and steadily built upon as the series unfolds. We learn more about them and their relationship and dramatic history in an engaging and involving way.
In the second episode we meet the ‘King of the Cats’ – Lukas Gage in a marvelously charismatic and funny performance – a combination of excellent writing and super stylish acting. There were some very funny self-conscious pop culture references – I particularly liked the one referencing a ‘John Hughes level of angsty time-crunch’.
Dramatically and structurally, there is a smart mixture of being self-contained in each episode but the bigger dramatic arc is also acknowledged and well worked in. And the boys’ back story is gradually revealed, invariably arising commendably naturally from the events of each specific episode.
Another very stylish aspect of this series (as well as very well evoking the Stephen King/New England small-town setting for most of this series), is the visual variety used to tell smaller separate story strands. The visual style of the back story of the Walrus (a poignant tale in itself) references Far Eastern (Indonesian? Balinese?) shadow puppetry.
By the final Episode 8 we are moving towards the climax and the bigger question of the longer-term future of the boys –always there in the individual stories but also an essential part of the bigger dramatic arc. The loss of a seemingly central character was powerful and touching – and a bold statement that difficult dramatic decisions will be made for the greater dramatic good. The use of music at this moment was a powerful way to make the scene even powerful and not as intrusive as it so often can be in series today.
The overall ending was excellent – just enough tied up to be satisfying but with enough dramatic potential left open (and not too blatantly) to allow for what must be the second series. And the boys’ personal relationship was really well done and, again, with no overly neat and pat resolution. No easy sentimentality either.