Two extremely clever, original and defiantly edgy half-hour comedies return to Netflix for their second seasons. Big Mouth, from creator Nick Kroll, is an animated look at every uncomfortable, mortifying, terrifying aspect of puberty. A group of American teenagers are going through it, egged on by their own, literal, hormone monsters; masturbation, menstruation and everything else is covered in graphic and lurid detail, with mostly very funny results. Deliberately over the top, everyone whose been through all this mess can relate, but some may not want to go back there; it could be just too painful.
Meanwhile, Norsemen is a Norwegian spoof of that country’s Viking history, and often extremely funny. It’s the closest show I’ve ever seen to old-school Monty Python humour: dry, absurd, and played straight. It’s also in English; somehow, that makes it funnier and more charming (and a Norwegian friend of mine agrees). The series doesn’t shy away from the Vikings’ predilection for invasion, pillaging and rape, and there is occasional gore, but always deployed for humorous effect. There is also intrigue, a love quadrangle, ancient ritual, a psychotic villain and stunning locations. The large ensemble cast are all superb; many of them have been seen as cops, politicians, soldiers and bad guys in Nordic noir, and it’s a delight to see them here, being delightfully, unapologetically silly. Terrific.
Simon Beaufoy and Danny Boyle’s Trust (FOXTEL) shares a lot of story DNA with Sir Ridley Scott’s All The Money In The World from last year. Both take J. Paul Getty’s response to his grandson John Paul Getty III’s kidnapping in Rome in 1973 as their general plot, and there are certainly similarities; in both, the rich old man is portrayed as a miserly controlling creep, and his seat of power, a mansion in England, is a prime location in both. But Trust, at ten hours, obviously has a lot more room, and on the basis of the first two episodes it is clear Boyle’s going to use it. He’s always been interested in money and its effect on people, and J. Paul, played exquisitely by Donald Sutherland, gives him a marvelous monster to sic amongst a large cast of family and employees (J. Paul, like many of the über-rich, didn’t have friends), each of whom is subservient and sycophantic to, rebellious against, or disgusted by him to varying degrees. The production design is stunning and the story massively entertaining (and quite lurid). Typical of his work, Boyle is superb at character delineation; this is a big universe but everyone is exquisitely and clearly defined. It’s also funny, a lot more than Scott’s somber movie.