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You’re Alright, You’re Okay

You’re Alright, You’re Okay

As we become more and more reliant on our phones, apps, and social media, comedy turns into more and more of a social commentary. This is definitely the case for Think/Feel and Chell Stephen’s You’re Alright, You’re Okay.

In the span of three minutes, we watch our protagonist go from completely reliant on her phone to completely subverting the system. She uses an app to meditate, breathe, and make her a forcibly happy person. The only problem is that this system doesn’t work for her like it appears to do for her friends and family. Those who go against or get in the way of her carefully computer coded system irritate her, as she is trying so hard to channel herself into a more happy, more mindful being. Why can’t she be as happy as her friends seem to be? It takes a horribly superficial conversation with her friends to make her realize that the solution she’s been seeking is actually her main source of unhappiness: her phone.

Narrating her struggle is her mindfulness phone guru. At first, he is peddling her the same information she wants to hear: breathe, ignore the sounds of those around you, try harder. He quickly almost faster than she does, pointing out her unhappiness and how excruciatingly impossible “manifesting” your life to be “fucking amaze-balls” can be.

One of the best lines in You’re Alright, You’re Okay that sum up not only a theme of the film but an ever-present part of today’s world is quickly delivered by one of the friends at the bar: “I want people to be real, you know? But not if it means they’re going to be negative.” This is the crux of the matter, and the catalyst for our protagonist finally act on her own behalf.

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