Season 1 had a scene where young Bill caught an unfortunate glimpse of his father’s ball sack. It was gross, sure, but it helped build up Bill’s childhood trauma in hilarious ways. In Season 2, however, the character they’re trying to traumatize is you, the viewer. They really doubled down on the crassness and vulgarity, because we get a full-on view of Vic’s penis this time around, a fat prostitute with saggy breasts that won’t stay in her blouse, an exploding guy who sprays blood on everyone, and a statutory rape scene. It’s all cartoonish and played for laughs, of course, but it is a bit much, particularly for a show that worked so well when it stayed grounded.
I’m still a little bothered by the statutory rape episode. I’m not saying 14-year old Kevin wouldn’t have done what he did in that situation, but I find it hard to believe that the older woman involved mistook him as “short for his age.” Yep, that was the jokey pay-off there. Might as well have been a Family Guy cutaway gag… Every secondary character on this show is a joke, really, and not in a good way. Their voices are grating, and their personalities are pretty one-note. This is in stark contrast to the Murphy family members, who so expertly come across as real people with real problems.
Sadly, F is for Family has started to channel Family Guy more and more. Season 2 drags the Murphys down a little too far into depravity to the point where it’s hard to even root for them anymore. And yet, like Peter’s frequent, end-of-episode “ah jeez, I’m sorry Lois” speeches, we’re to believe everyone has learned their lesson and forgiven each other in much the same way. The show has too quickly embraced being a cartoon—an adult cartoon, no less—but doesn’t know how to balance the silly with the serious like BoJack Horseman has been able to. Not that the world needs two BoJack Horsemen, but there’s a reason why that one is Netflix’s cartoon jewel, and this one isn’t.
You can take the boys out of Sunnyvale trailer park, but you can’t take Sunnyvale out of… well, I take that back. Even though Ricky, Julian, and Bubbles stayed true to their personalities while traveling in Europe, they put up with way more crap than they would have ever tolerated back home. Mr. Lahey had always been a great antagonist to “the boys,” because there was so much give and take in those battles. Lahey would lose as often as he would win. In this “Out of the Park” travel spin-off, however, the antagonist is a Swearnet representative with the most punchable face in television who never gets his comeuppance. He mocks the boys right up to the end and even hints that there could be more seasons of this kind of suffering.
Oh, Lord… I really hope this was a one-off experiment. I liked that the boys’ trip was hardly glamorous, though. I was afraid this was going to feel like nothing more than an excuse for them to have fun in Europe. That wasn’t the case at all. Even the celebrities they met were, for the most part, intentional assholes. And the point of the trip quickly became them needing to perform ridiculous tasks to earn enough money to eat. But the Swearnet guy almost always refused to give them their money based on technicalities like, “There were too many people in your photo.” After a while, I just got tired of watching the boys get beaten down and grow increasingly hungry. Consider this a lesson learned and don’t leave the park next time.
After the show’s first season, I was worried that Master of None would try to follow in the footsteps of Louie and morph into an all-out drama. Season 2 definitely feels more serious and experimental. I mean, the first episode is strictly black-and-white, and there’s even an episode that doesn’t feature Aziz Ansari’s character, Dev, at all. Ansari is the best thing about the show, though. The episode without him got so boring that I started skipping ahead. I know comedians like Louis C.K. and Ansari want to be able to flex their directorial muscles, but I’m not one to hand out praise simply because something is different. The episodes of Master of None that break from the mold are certainly the weaker ones.
A lot of Season 2 felt like a repeat of Season 1, anyway, with Dev falling in love with a woman and then hitting a major impasse in their relationship. Only now the woman he’s chasing is already engaged to someone else, so it’s harder to side with Dev on this one. And, like Season 1, so much of the acting is just… bad. I understand those are Ansari’s real parents, but knowing that just makes his mom’s wooden acting all the more distracting. Eric Wareheim as Arnold is also surprisingly off-putting. It’s weird, because Wareheim was so charming in his many Tim & Eric skits, but he just doesn’t fit in here. It’s like Ansari is the only actor who’s at all comfortable on the show. At this point, I honestly can’t tell if that’s some intentionally artsy move.
There was a good story somewhere in here, but Netflix really dropped the ball this time. Iron Fist is pretty disappointing. And I’m not even holding the Netflix/Marvel shows to very high standards, anymore. They’ve all tended to start out great and then turn into a slog near the halfway point. Iron Fist, however, is consistently bland. Our hero, Danny, has so little personality, and it was never very clear who the villain was supposed to be. Sure, Danny spends plenty of time chasing after “The Hand,” but there’s really no single, formidable opponent. You don’t get to see Danny struggle and lose in the same ways that Daredevil and Luke Cage suffered (and ultimately grew).
I liked the potential of Danny Rand as a naive businessman, sort of like a mix between Iron Man and Spider-Man. But he’s really the worst thing about his own show. The supporting characters were much better, particularly the Meachum family. Ward Meachum wavered so much between being a good guy and a bad guy but in a believable way. It’s a shame, then, that the story didn’t revolve more around them. Instead, we get hours of Danny whining about Ye Olde Hand. At least the Hand’s mysticism fits better here than it did in Daredevil Season 2, but the Hand as a whole just comes across as an even sillier organization now. Seriously, this doesn’t give me much hope for The Defenders, but maybe an ensemble is what will really boost Danny to his true potential.
At first, it seemed like Luke Cage was going to be nothing more than a mash-up of Jessica Jones (reluctant hero, super strong, doesn’t hide his/her identity) and Daredevil (up against a local mob boss). A few episodes in, however, it does start to differentiate itself, to the point where it had the makings to be the best Marvel/Netflix show yet. The cast and characters felt a lot stronger, especially the initial villains. I liked the mob boss here a lot more than Wilson Fisk, and I really liked how said mob boss didn’t always have the upper hand. It was nice to see some back and forth instead of always watching the hero fail until the very end.
But Luke Cage makes the same mistake that Season 2 of Daredevil did by introducing a much more cartoonish threat halfway through. When Diamondback arrived, grinning ear to ear and spouting Biblical nonsense, the show lost a lot of its heart and soul. And with no complex villain to hold things together, the cheesy dialogue and contrived situations started sticking out more. For instance, there’s a moment where the cops beat up a kid, so the corrupt politician holds a rally to convince the community that they need to arm the police with more powerful weapons to stop Luke Cage. Uh… what? Why would anyone in this universe buy that?
Unfortunately, there are many instances like that where something ridiculous happens for no other reason than to move the story forward. After a while, you get sick of seeing characters simply walk away from situations where they should have gotten caught. By the end of the season, I was no longer sure on how I would rank this among the other Marvel shows. Again, it’s very similar to Daredevil Season 2 in that it gets off to a great start and then squanders most of it, whether that’s because they tried to stay too close to the comic or they shot themselves in the foot by sticking with the long-winded 13-episode format. Even Luke Cage isn’t bulletproof to that.
Every season of Bojack Horseman leaves me feeling… different. They seem to always end on a dour note, and for the next several days, I have brooding Bojack quotes running through my head. This show gets a little too real at times. But that’s also why it’s so intriguing. It goes from silly animal puns to existential crises at the drop of a hat. While the humor doesn’t always land (though to be fair, much of the humor is in the background details, anyway), the “serious” scenes will punch you in the gut every damn time. Honestly, Bojack Horseman has more of an effect on me than most other shows billed as outright dramas.
A lot of Season 3 felt like retread, though. Bojack still hates himself and still messes up good opportunities when they come around. We’ve kind of seen that already many times before, only now he’s digging a deeper hole and pushing his friends farther away. But speaking of which, the supporting cast felt more important and less cartoony this time around. That’s especially true of Todd. I never cared for Todd before, but I thought he was used well, and by the end of the season, we learn something about him that really humanizes him. Plus, I think Aaron Paul’s voice acting finally grew on me.
The voice acting in general has always been a little hit or miss. The show does bring in some pretty big stars, but, as I’ve said before, great actors aren’t necessarily great voice actors. I still absolutely love Will Arnett as Bojack, though. This is the best thing Arnett has done since Arrested Development. Surprisingly, however, the most memorable episode of the season had very little voice acting at all. The dream-like underwater episode was such a joy to watch, and without any dialogue, they still managed to convey the same heart and soul. I already can’t wait to see where this series goes and what boundaries it pushes next year.