10) The Pole
The Pole works well when it focuses less on the comedy (the comedic dialogue needs a lot of help here) and more on the dramatic flair that certainly shows more of a likeness to that of say Succession or The Sopranos than anything holly jolly. The constant sight gags attributing to classic Christmas lore is a riot, from Jack’s “Grinch”-like smile, to constant talk about cookies and sweets, there’s enough Christmas here for the die-hard fans of the holiday, but the gooey center featuring the hot mess that is the North Pole is what I come here for. How the producers managed to pull off what is typically seen in hour-long HBO episodes into that of weekly quarter-hours is, in itself, an astonishing feat. Whether or not we’ll get to see more is anyone’s guess, but count us in for more.
9) Fairfax
Fairfax never builds itself up to be essential, prestige animated programming, which helps this playful Amazon Prime series become one of the bigger surprises of the season. Fairfax quickly finds its rhythm and never loses it as it creates incredibly comfortable and confident comedy, characters, and a community. Fairfax is an absolute delight that deserves an even longer leash to explore its weird and wilder tendencies. This first season establishes a strong foundation for the series and it’s very easy to picture it turning out a long run of episodes with a successful future ahead. Fairfax is destined for a verified future full of millions of followers and a baller ratio to be envious about.
8) Devil May Care
Nothing too flashy, a dirty animated comedy that’s a bit of a throwback to Adult Swim’s yesteryear with chock-full of cast and smart writing with a slew of original characters that anyone can get behind.
7) Marvel’s M.O.D.O.K.
Marvel’s M.O.D.O.K. isn’t necessarily groundbreaking or original, but it’s still smart, hilarious, and pretty damn entertaining, which is more than enough. M.O.D.O.K. is one of the final vestiges of the old guard of Marvel’s television department, but it’s a welcome change of pace to finally have a Marvel television vehicle that’s primarily concerned with comedy and is able to skewer classic Marvel conventions with sharp satire. M.O.D.O.K. does feel like Marvel’s answer to DC’s Harley Quinn animated series in many ways, even if they were developed entirely independent of each other. In that sense, MODOK fulfills a side and tone of the Marvel universe that otherwise goes ignored and that alone makes it an important step forward. Ideally M.O.D.O.K. will be embraced and its example followed as Marvel’s continued foray into television only grows more intense, rather than gradually pushed into irrelevancy because it technically represents a part of Marvel’s past. Hopefully Kevin Feige can look past this because despite this technicality, M.O.D.O.K. very much represents Marvel’s future.
6) The Summoner
The writing has Charlie Hankin’s hilarious finger prints all over the place delivered by excellent voice acting (Charlie and Cree do all of the voices, the way it’s supposed to be done). Solis Animation follows up from Syfy’s Gary And His Demons, teaming up with Stoopid Buddy Stoodios for a stellar one-two punch for strong animated production all done on minuscule budgets that more than measure up to anything else you can find. The entire result is a strong effort that deserved better treatment. Maybe The Summoner can summon additional episodes on a different network that will appreciate it.
5) Teenage Euthanasia
Adult Swim’s animated programming can wildly fluctuate from series that pride themselves in their amateurish, lo-fi looks while others thrive on their ambitious and unique art designs. Teenage Euthanasia is an example of the latter and it sports a very distinct, neon color palette that pops off the screen. Augenblick Studios always produces strong work and Teenage Euthanasia is no exception. It’s well within their wheelhouse, but their animation and Abby Jame’s designs mesh so well with the Florida aesthetic. The characters aren’t ugly to look at and frames are often busy with lots of detail going on in the background of scenes. However, it’s still the use of color that stands out more than anything else.
The first season of Teenage Euthanasia is only seven episodes long, but it’s surprisingly economic in its brevity. By the end of this season there’s definitely a stronger grasp on each of these characters than when things began and the world also feels richer and vibrant. The cast feels further along when the season ends, but also that Teenage Euthanasia has only scratched the surface with what they’re capable of in many ways, especially when it comes to characters like Pete. The show’s storytelling only grows more confident the further that it gets away from the Tender Endings funeral home and the series’ general comfort zones.
4) Birdgirl
Birdgirl may not be for everyone, but it’s a program that marks a fresh step forward for Adult Swim as they attempt to establish themselves for a new generation. Birdgirl doesn’t lean too hard into nostalgia, lazy superhero tropes, or reboot culture and it manages to navigate through this minefield relatively unscathed. It’s an animated series that benefits most from an open mind and zero expectations. There’s something weird and special in Birdgirl that absolutely deserves time to grow.
3) The Harper House
The first season of The Harper House begins in a super confident manner, but it’s surprising just how quickly it finds its footing and steps up its game in the remainder of season one. It usually takes a show at least two seasons to establish its voice and learn how to go past it. These episodes are hilarious, heartwarming, and deeply layered in a way that once again brings vintage Simpsons and South Park to mind. It’s thought-provoking without being obnoxious and every episode turns the Harpers into a family that the audience will want to spend time with.
2) Ten Year Old Tom
It’s extremely rare that a series comes so fully formed out of the box as Ten Year Old Tom, but this comedy knows exactly what it is and goes about it in the best way possible. It doesn’t feel like there’s a minute of fat on any episode and each 15-minute story is the best distillation of the wild predicaments that Tom winds up in. It shouldn’t be this entertaining to watch an average kid learn about the cynical nature of the world, but Ten Year Old Tom is one of the most purely enjoyable comedies on HBO Max, animated or otherwise. Any segment from an episode thoroughly highlights what this series is all about and there’s no wrong place to jump in. Ten Year Old Tom’s theme song poetically croons, “Remember there’s a lot of good omens supplying the proof that our life is the best joke ever told. Remember it’s a joke, and leave it alone.” In Ten Year Old Tom, it’s impossible for Tom to just leave it alone and God bless him for it.
1) Inside Job
Truthfully, in the pyramid of adult animated sitcoms, Inside Job is sitting at God tier. The series is doing everything right. Conceptually it is as strong as Rick and Morty but in an approachable way that may not be so overwhelming for new audiences. Additionally, Inside Job balances relatable stories with thought-provoking themes in a package that is recognizable yet unique.