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Big Mouth: An Unflinching Adult Comedy

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Big mouth’s pinnacle of success can be credited to its magnetic focus on one gruesome phase of human life. It is not a cartoon much different from several other animated shows on TV. It escapes us out of the bitter realities of the real world and teleports its viewers in a realm of fantasy. Once it has taken its audience with sufficient confidence, it begins to dawn upon major anatomical truths that we refuse to accept although they are a de facto part of the aging process. It gets cameo voice-overs from bigwigs of television. It also has the entire jazzy dance numbers needed to light up the gloom. The vibrant ensemble of honest to goodness characters (Nick, Andrew, Jessie); despicable monsters (personified ravages of adolescence); and outlandish goofballs (Coach Steve); assimilate up into a fulfilling full course meal.

The show simply does not create an impact with its first impression. Every creature not human is embodied into something carnal or venereal. It isn’t like this was something essential to the narration. There could have been subtler designs to present the story without sounding too desperate. The characters look like as if they have been just thrown out of MS Paint into some kind of 2000’s video hand camera. The mouths will open only to satisfy the idea of motion; otherwise, the still dullness pitched against a colorful aura would distract the viewers.

The reservoir of dirty jokes is vast, inventive and endless. The protagonists have a bizarre sense of comic energy that disallows the depressed years of adolescence from characterizing the plot line. Much like Bojack and Rick and Morty, Big mouth to safely step out of the enormous shadow cast by shows like family guy. Thankfully, this show too does not go the musical way and keeps itself on track with is narrative standpoint.

Big Mouth does not particularly go surreal when discussing puberty. It is straightforward and pretty realistic. The show realizes the mental dilemma of a naïve kid as he suddenly starts developing inclinations of things that he earlier thought were inappropriate. It goes on to take some extreme measures when talking about things that are generally taboo, even for adult sitcoms. It slips into intolerable vulgarity at times, so a few scenes are simply gross. The story in season 2 deepens, as it starts on affecting exploration of the balance in all of our brains between hedonism and shame. The show makes those eerie fetishes coherent that we normally pretend to stay away from. But, when the show lifts up the veil, we are forced out of our own state of denial.

Season two is more procedural than the show’s first installment. Things quickly pace forward as the timeline moves from realization to action. As the leads uncover the words of puberty, they start despising their attitudes. They regret slut-shaming and orient themselves towards Planned Parenthood. Oh, and the great David Thewlis joins the voice cast as someone called “the Shame Wizard,” as the series also deepens its large ensemble of personified emotions and human experiences. There’s a Depression Kitty voiced by Jean Smart! And Maya Rudolph is basically giving one of TV’s best performances as the Hormone Monstress who hangs out with young Jessi, and she’s doing it with only her voice.

Big Mouth is seemingly a revert back vehicle. It draws us back into the age where we had to mature on our own, deciding between the acceptable and unacceptable. Sexual persuasions force us all into terribly painful situations. And Big Mouth just narrates an account on these terrifyingly embarrassing moments in an unsparingly funny tone.

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