Premiering on Tubi TV on Nov. 14, The Freak Brothers is a modern continuation of the classic, counter-culture characters from the 60s. While the animated series embraces a straightforward premise and relies on stoner-culture comedy, its strong cast and faithful animation make it a fun watch for audiences willing to engage in the inherent silliness.
The Freak Brothers series focuses on three friends living in 1969 — the chemist Phineas T. Phreak (Pete Davidson), the laidback womanizer Freewheelin’ Franklin Freek (Woody Harrelson), and the food-obsessed Freddy Freekowstki (John Goodman) — and their cat, Kitty (Tiffany Haddish). However, the trio’s escapades end up putting them to sleep for fifty years. In 2020’s San Francisco, they find themselves in a home with the no-nonsense Harper (Andrea Savage), her sister Gretchen (La La Anthony), her husband Noah (Phil LaMarr), her daughter Camille (Liza del Mundo), and their pampered dog, Chomsky (Danny Gendron).
From The Freak Brothers‘ premise alone, it’s easy to see the core sitcom-like elements of the show. In the first two episodes available for review, The Freak Brothers solidify its culture-clash set-up, juxtaposing the free-living Freak Brothers against the trappings of the modern-day. The jokes are typically low-brow but cleverly constructed to hit low-hanging targets. If drugs, sex, and poop jokes aren’t to your liking, then The Freak Brothers are unlikely to change your mind. Helping elevate the comedy is a willingness to go all out with the premise, however. The Freak Brothers fully embrace its specific scatological and silly sense of humor, making it into a drug-heavy Three Stooges.
However, its cast elevates The Freak Brothers from being just a cartoonish, drug-oriented sitcom. Its core cast of Davidson, Goodman, Harrelson, and Haddish lean into the show’s antics. Davidson, in particular, is having a blast. The four actors quickly carve out distinct personalities that feel lived in and funny enough to carry the show’s premise. LaMarr‘s Noah is also a highlight of the series, becoming a pleasant contrast to the trio. Harper and Gretchen aren’t as successful, playing out tired tropes instead of getting the room to grow as individuals — although there’s some hint that Harper could become a good foil in future episodes.
The Freak Brothers‘ specific animation style also deserves praise. The show’s designs harken back to Gilbert Shelton’s original version of the Freak Brothers in the late 1960’s, and it gives the show a distinct look. The movement is somewhat stilted, but it benefits the elongated limbs of the titular characters. A handful of more elaborate set-pieces — like an extended musical number about legalized marijuana — reveal that the series has a flow to it. The problem is that the modern-day — perhaps purposefully — looks boring and static by comparison, and many of the jokes about modern culture are mere observations. The show picks up far more steam when it just becomes as bizarre and silly as its core cast.
While it’s neither perfect nor revolutionary in its premiere, The Freak Brothers is an enjoyable and unique animated series. If the show continues to evolve its cast to the level of the titular Freak Brothers and finds ways to embrace a memorably gonzo view of the world instead of just relying on conventional sitcom-like escapades, it could be something special.
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