Nick Kroll's Big Mouth has been one of Netflix's most popular animated comedies over the last five years. With each season, the show has continued to grow, introducing new characters while amassing an impressive roster of voice talent that has kept viewers interested and storylines fresh. Among those additions, hormone monsters, depression kitties, shame wizards, love bugs and anxiety mosquitos have complemented the main characters as they continue to go through changes.
With the arrival of spinoff series Human Resources, three years after it was initially announced, the focus shifts to those creatures as they try to manage and make sense of their own day-to-day lives.
The new show features plenty of familiar characters, with Maury (Kroll), Connie (Maya Rudolph) and Shame Wizard (David Thewlis), as well as love bugs Rochelle, Walter and Sonya (Keke Palmer, Brandon Kyle Goodman and Pamela Adlon, respectively) all featuring heavily. While there's plenty of familiar faces, Human Resources also features plenty of new personalities and creatures, including Sonya's lovebug assistant Emmy (Aidy Bryant), Pete the Logic Rock (Randall Park) and Petra the Ambition Goblin (Rosie Perez).
In Kroll's latest series, the focus shifts from navigating puberty to navigating life after those awkward adolescent years. In the first episode, when Sonya is fired, Emmy is forced to take over her client Becca (Ali Wong), who is on the verge of giving birth. In another, Pete and Rochelle encourage their client Doug (Tim Robinson) as he struggles to lose weight for his wedding while trying to manage his obsession with dieting. For all the attention given to the people in the show, Human Resources also dives into the relationships the creatures share with each other to complement their stressful working lives.
As a standalone show, there is going to be a learning curve for those who have not seen Human Resources' predecessor. Big Mouth has spent five seasons building a universe and slowly introducing characters, most of whom exist and serve as the basis for the new series. Those who are unfamiliar with the first series will likely feel stuck in the weeds as they try to understand the subtleties and personalities of so many different characters. Likely, viewers will be coming to the new series because of their appreciation for Big Mouth, although those who are new to the Kroll animated series experience may struggle.
But for those familiar with Big Mouth, not much else will seem new or fresh in terms of the show's humour, pacing, and storytelling. Despite emphasizing the HR team's partnership with adults, dick and ball jokes persist, which can grow tiresome, especially when there's already a vehicle for that type of content. That's not to say the jokes don't land, but they can feel redundant at times because they've been done before.
Even the way the show explores themes of postpartum depression, addiction, grief, and ambition feel borrowed. Like Big Mouth, there are often so many interweaving storylines, some of the more meaningful takeaways are lost, because they're bookended by B and even C plotlines. The messages struggle to come into focus due to how busy the plot is.
Despite some stale material, there are things to love about Human Resources, namely the voice performances. Kroll and Rudolph are solid as always, and Aidy Bryant stands out as the show's lead Emmy. Bryant brings all of the charisma and charm to the bubbly Emmy that sets her apart from other familiar faces and newcomers. The series also features a great set of guest stars highlighted by Hugh Jackman as Dante, an Addiction Angel who is well-endowed three times over and Tim Robinson as Doug, the die-hard Phoenix Suns fan whose lack of self-awareness and obliviousness would align him with many of Robinson's I Think You Should Leave characters.
Unfortunately, a couple of fresh faces and notable voice performances don't provide enough of a differentiator to make Human Resources stand out. The series is a comfortable watch, and there are some decent laughs in there, but it merely feels like a continuation of Big Mouth instead of an attempt at something new. However, with the continued success of the aforementioned show, and the addition of Human Resources, it's nice to know that Kroll's brand of breakneck speed comedy won't be going anywhere anytime soon.
(Netflix)With the arrival of spinoff series Human Resources, three years after it was initially announced, the focus shifts to those creatures as they try to manage and make sense of their own day-to-day lives.
The new show features plenty of familiar characters, with Maury (Kroll), Connie (Maya Rudolph) and Shame Wizard (David Thewlis), as well as love bugs Rochelle, Walter and Sonya (Keke Palmer, Brandon Kyle Goodman and Pamela Adlon, respectively) all featuring heavily. While there's plenty of familiar faces, Human Resources also features plenty of new personalities and creatures, including Sonya's lovebug assistant Emmy (Aidy Bryant), Pete the Logic Rock (Randall Park) and Petra the Ambition Goblin (Rosie Perez).
In Kroll's latest series, the focus shifts from navigating puberty to navigating life after those awkward adolescent years. In the first episode, when Sonya is fired, Emmy is forced to take over her client Becca (Ali Wong), who is on the verge of giving birth. In another, Pete and Rochelle encourage their client Doug (Tim Robinson) as he struggles to lose weight for his wedding while trying to manage his obsession with dieting. For all the attention given to the people in the show, Human Resources also dives into the relationships the creatures share with each other to complement their stressful working lives.
As a standalone show, there is going to be a learning curve for those who have not seen Human Resources' predecessor. Big Mouth has spent five seasons building a universe and slowly introducing characters, most of whom exist and serve as the basis for the new series. Those who are unfamiliar with the first series will likely feel stuck in the weeds as they try to understand the subtleties and personalities of so many different characters. Likely, viewers will be coming to the new series because of their appreciation for Big Mouth, although those who are new to the Kroll animated series experience may struggle.
But for those familiar with Big Mouth, not much else will seem new or fresh in terms of the show's humour, pacing, and storytelling. Despite emphasizing the HR team's partnership with adults, dick and ball jokes persist, which can grow tiresome, especially when there's already a vehicle for that type of content. That's not to say the jokes don't land, but they can feel redundant at times because they've been done before.
Even the way the show explores themes of postpartum depression, addiction, grief, and ambition feel borrowed. Like Big Mouth, there are often so many interweaving storylines, some of the more meaningful takeaways are lost, because they're bookended by B and even C plotlines. The messages struggle to come into focus due to how busy the plot is.
Despite some stale material, there are things to love about Human Resources, namely the voice performances. Kroll and Rudolph are solid as always, and Aidy Bryant stands out as the show's lead Emmy. Bryant brings all of the charisma and charm to the bubbly Emmy that sets her apart from other familiar faces and newcomers. The series also features a great set of guest stars highlighted by Hugh Jackman as Dante, an Addiction Angel who is well-endowed three times over and Tim Robinson as Doug, the die-hard Phoenix Suns fan whose lack of self-awareness and obliviousness would align him with many of Robinson's I Think You Should Leave characters.
Unfortunately, a couple of fresh faces and notable voice performances don't provide enough of a differentiator to make Human Resources stand out. The series is a comfortable watch, and there are some decent laughs in there, but it merely feels like a continuation of Big Mouth instead of an attempt at something new. However, with the continued success of the aforementioned show, and the addition of Human Resources, it's nice to know that Kroll's brand of breakneck speed comedy won't be going anywhere anytime soon.
