It doesn’t feel particularly inspired humor-wise, and it also jackhammers past the finer details of some major status quo changes going into a potential Season 4. That’s immediately followed by a finale that doubles as a superhero satire. Yet, Season 3 does find time late in its run for half an episode devoted to an extended Queer Eye cameo that can’t help but feel like a cynical bit of Netflix corporate synergy. What it means for Nick to have a female hormone monster with Connie goes unexplored, and Jessie doesn’t face the Depression Kitty again until the last third of this season. Unfortunately, that also means all but abandoning some tantalizing ideas Season 2 left hanging. In Season 3, a lot of these ideas are stuffed into episodes trying to accomplish other plot movements as well, and thus they feel shortchanged, as if the writers are trying to check ideas off a list too long for ten episodes. But in the past, the show would have sat with each of these for longer, or put a more central focus on one character to explore the issue in deeper, more empathetic detail for the whole episode. Lola becomes the object of a teacher’s gross affections. Jessie gets a visual tour of the female orgasm.
Andrew can’t seem to stop having sexual thoughts about his cousin. A menopause witch voiced by Carol Kane haunts one of the moms. Good, even great, ideas can be found throughout. Turns out, the writers did such a good job developing Nick, Andrew, Jessie, Jay, Missy, Matthew, and the rest into fully realized characters over the first two seasons, pulling back and examining as many pubescent oddities as possible feels more like spending time with the show’s writers than the characters they created in Season 3. While these individual episodes have strong messages that stay in line with what Big Mouth set out to do from the start, they also put some of the characters on autopilot rather than moving them forward at this integral time in their lives. From there, Season 3 settles into a more episodic structure than the winning long-form arcs that most of the kids embarked on last year. The themes explored are more than worthwhile (the season premiere dives into the idea of social exclusion from within the feminism movement via a strong Missy arc, while the second episode relays the vast spectrum of sexual orientations in a thoughtful, inclusive manner), but the fact that the writers use the same tricks twice in a row is immediately a little off-putting, well-intended as the approach may be. The first two, for example, each present a conflict through the eyes of one character, and then change it through another, and end with a big, sweeping musical number. Some episodes feel as though they’ve been run through the same equation.
The season’s problems come early and often. It’s disappointing, then, that Season 3 feels like the show dozed off right after it climaxed. Season 2 was the show’s initial thesis pretty much perfected, but by no means did it feel like it blew its load too early. The new season will also include Gina Rodriguez ( Jane the Virgin) as the first girl in middle school to develop breasts, and David Thewlis as The Shame Wizard, The Hormone Monster’s mortal enemy who haunts the kids by stoking their deepest shame.For such a young show, the trajectory of Big Mouth’s quality skyrocketed from its first season to its second. The voice cast is led by Kroll alongside John Mulaney, Maya Rudolph, Jason Mantzoukas, Jordan Peele, Fred Armisen, Jenny Slate and Jessi Klein. Produced by Netflix, Big Mouth is created and executive produced by Kroll, Family Guy writer and producer Andrew Goldberg, and screenwriter-directors Mark Levin and Jennifer Flackett. The adult-skewing animated series, which was renewed for 10 episodes in October, follows a group of now-seventh graders navigating the rocky world of puberty, with all the awkward self-discovery and self-awareness that entails. Netflix has unwrapped a new teaser and images for Season 2 of Nick Kroll’s Big Mouth, along with an announcement on Twitter that the new season will premiere on October 5.
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