Inside Job (2021)

Where to find it: Netflix
Length: Ten 25-minute episodes
Synopsis: Adult animation in which all conspiracies are true and engineered by the Deep State
Recommendation rating: 2/5

What I like about it: sometimes funny (especially when satirical), Lizzy Caplan, good opening titles and theme
What I don’t like about it: juvenile gags, uninteresting characters

Review:
I’ve disliked ‘adult animation’ for as long as I’ve been an adult – there’s better content for adults in masterful children’s cartoons like Bluey and Steven Universe; while the obligatory gore, swears and cynicism that separates them from animation’s traditional target audience seem more adolescent than adult. This show from Netflix isn’t the worst example of the genre (that would be their latest offering, Farzar) but it’s far from the best (which is Tuca and Bertie).

The core gag is that all conspiracy theories, from Roswell to ‘crisis actors’, are true and organised by a shadowy corporation called Cognito Inc. Main character Reagan (Lizzy Caplan) is the daughter of Cognito founder Rand (Christian Slater) and is passed over for promotion to Big Boss in favour of a bland young executive named Brett (Clark Duke). Reagan and Brett’s relationship is the familiar cat-and-dog dynamic of a smart, aloof woman and an active, unthinking man. It isn’t strong enough to carry any interest beyond the gags, which are a handful of good historical/political jokes filled out with four hours of standard adolescent animation fare.

Content notes (may contain spoilers): violence, drugs, sexual references, anti-autistic bullshit in episode 3

Harriet the Spy (2022)

Where to find it: Apple TV+
Length: Ten 20-minute episodes
Synopsis: Cartoon about a privileged girl with no respect for boundaries
Recommendation rating: 2/5

What I like about it: the art is kinda cute, music from Courtney Barnett and Aloe Blacc, among others
What I don’t like about it: pointless, both outdated and anachronistic, not even much fun, a deeply awkward race episode

Review:
Apple continue to spend too much money making shows no one wants to see. This one is an adaptation of a beloved children’s book, stripped of anything that made the book work. Harriet lives with her media professional parents in a penthouse in the Upper East Side of Manhattan in 1967. She constantly gets into trouble by spying on her neighbours and consistently avoids learning a lesson from it, as that would ruin the premise.

In fact, the simplistic moral messages which are the traditional stock-in-trade of children’s media are completely missing from the show, replaced by a vacuous and conspicuous consumerist individualism. Whenever Harriet feels sad, she buys something to cheer herself up! One might imagine that if she were born sixty years later like her target audience, she would probably treat herself to the latest Apple iPhone or highly-priced MP3s from Apple iTunes, that kind of thing.

Content notes (may contain spoilers):