Most of the episodes take place at school, examining crushes, the modern complications of texting and Facetiming, standardized testing, and what happens when the boys rank the hottest girls in school (it goes very badly). Big Mouth: Season 3, now streaming on Netflix. Relationships end, friendships fray, and by the season’s end, it’s unclear where everybody will be after a school year ends. Instead, it amplifies slights and heartbreaks, particularly in the first episode, an extended Valentine’s Day kickoff that Netflix released earlier in the year. Season Three feels like a more buoyant bounce back, still topical and razor-sharp, but more willing to throw joke grenades at problems than to try so hard to express them with so much gravity.
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Season Two went beyond getting one’s early jollies, introducing a Shame Wizard (David Thewlis) a Depression Kitty (Jean Smart) that respectively fucked with the characters’ sexual identities and other issues. There’s also the ghost of Duke Ellington (Peele) living in the attic of one of the boys, Nick (Kroll). Various hormone monsters coach the kids, always pushing them to act on their impulses. Season One had the element of surprise going for it, a near constant shock-and-awe of how filthy and high-concept one cartoon not called South Park could be. While laugh-out-loud funny, Big Mouth at times poignantly wallows in the melancholy one experiences when the stuff starts happening down there and childhood starts to fade.
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The comedic talent fueling it in the voice department alone, which includes executive producer Nick Kroll, John Mulaney, Jenny Slate, Jordan Peele, and the superior Maya Rudolph, has propelled it past other animated shows that have tried, but failed, to get the chemistry right.īig Mouth earns its reputation for being filthy and unrestrained (it’s on Netflix, after all), but it never strays too far from making its hormonally pinballing characters feel complicated and conflicted.
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In its just-released third season, the series about kids awkwardly stumbling through puberty is still as energetically surprising, sharply written, and expertly voice-acted as when it debuted two years ago. And then there’s Big Mouth.Īs BoJack winds down, Big Mouth will take the crown as Netflix’s funniest, most important animated show, for good reason.
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The streaming service has lots of cartoons aimed at kids, mostly shows built off movies like How to Train Your Dragon, and there’s adult-themed animation like David Fincher-led Love, Sex, and Robots, or anime-styled projects like Castlevania.īut it only has a few of the half-hour animated sitcoms that FOX still rules over with The Simpsons, Family Guy, Bob’s Burgers, and American Dad! There’s the very skippable Bill Burr show F is for Family, the largely unfunny Matt Groening fantasy Disenchantment, Tuca & Bertie (cancelled after one season), and the acclaimed, soon-to-conclude BoJack Horseman. This year, Netflix is expected to spend $10-$15 billion on original content, but a surprisingly small portion of that is going to half-hour animated sitcoms.