When you picture the post-apocalypse in your mind, hellish imagery from “Mad Max,” “The Walking Dead,” “Children of Men,” and “Snowpiercer” are often evoked. Decimated buildings, endless war amongst survivors, and grungy people in clothing stained with sweat, dirt, and blood; it’s a cruel, dog-eat-dog environment that always feels hostile. However, in Netflix’s new heartfelt, utterly enjoyable fairy tale series, “Sweet Tooth,” the post-apocalypse is refreshingly less inhospitable and dour. While it’s definitely not a completely fun-filled utopia, it is an antidote to the grimdark worlds we usually see in apocalyptic fantasy and one brimming with love, hope, beauty, and, well, sweet treats.
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“Sweet Tooth” is less “Mad Max” and more “Pinocchio” as the episodes are book-ended by pitch-perfect narration by James Brolin, introducing you to the world of Gus and his journey to find family and acceptance, all based on the acclaimed comic book series from creator Jeff Lemire. Gus (Christian Convery) isn’t your typical human boy. In fact, he’s not even fully human. Like so many kids his age, he’s a deer-human hybrid who was born at the exact time during which the world was experiencing a global pandemic that was threatening to wipe out humanity. Were the animal hybrid infants the cause of the plague? Or maybe the plague caused the hybrids to be born? No one knows, but the fear of these children and the deadly virus leads to the downfall of society as humans begin to destroy each other over these uncertainties. And seeing the impending doom, Gus’ father (Will Forte), lovingly referred to as Pubba by the deer-boy, takes his infant son and ventures out into the depths of the forest to escape the ills of humanity and raise his unique child in a world devoid of evil and unspeakable horrors.
However, like all good things, this peaceful, nature-filled existence comes to an end. Now a sweet 10-year-old boy, Gus is forced to venture out beyond the Eden-esque border that Pubba created and experience the real world. And maybe even discover how a young deer-boy might be the key to restoring society to its former glory. That’s a lot of responsibility for a little boy that craves the love of family and his next sugar fix—an attribute that leads to one character giving him the nickname Sweet Tooth.
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This tone and story takes up much of the pilot episode of “Sweet Tooth,” the new series, co-created, co-written, and directed by Jim Mickle (who teams with Beth Schwartz on the writing and development), and is quite possibly the best hour of TV all year, full stop. Each frame is filled with love and heart as we are introduced to this beautiful relationship between a young boy and his father. As an introduction to this delightful cast of characters and a story of profound relationships between people and the lengths they’ll go to feel accepted and loved, Episode 1 of “Sweet Tooth” is an absolute joy to behold. And while the remaining seven episodes never fully achieve the cheer-worthiness of the final scene in the pilot, each chapter in “Sweet Tooth” continues to flesh out a show that is a hopeful post-apocalyptic story a post-COVID world desperately needs.
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Though Mickle brings stunning imagery to the series—the post-apocalypse never looked so lush and green—“Sweet Tooth” is a story that is 100% built around characters and the emotional connections they create. From the relationship between Gus and Pubba to the young deer-boy’s bonds with Tommy Jepperd (Nonso Anozie), aka Big Man, and Bear (Stefania LaVie Owen), the journey each character in the series goes on is steeped in emotional stakes and resolutions that will have viewers tearfully calling their own loved ones as the credits roll. But human interaction isn’t just happy days and blue skies. And it’s in the complexity of human emotions that allows “Sweet Tooth” to rise above being a saccharine, feel-good distraction and fully become a surprisingly mature, impactful series.
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Outside of Gus and his cadre of do-gooders, “Sweet Tooth” isn’t afraid to show the post-apocalypse’s bitter truths. There is still an army of humans, dubbed The Last Men, led by a gleefully evil General Abbot (Neil Sandilands), that is on the hunt for hybrid children to use for experimentation…or just extermination. And Abbot, who is seemingly devoid of any semblance of emotional connection to anyone but himself, uses love and optimism as a weapon against his enemies, particularly in the case of Dr. Aditya Singh (Adeel Akhtar) and his wife Rani (Aliza Vellani), who are put in the unenviable position of trying to develop a cure for a flu-like virus that wiped out millions and still threatens people every day. Moral questions abound as Dr. Singh has to reckon with what he’s willing to do to help humanity and his own family, with no clear-cut right or wrong answers.
Alas, even the best fairy tales have flaws. The first season focuses on seemingly disparate stories of various characters in this post-apocalypse (Dania Ramirez’s Aimee is a good example) that aren’t fully connected to the main narrative. And as the series progresses, revelations threaten the limits of your suspension of disbelief. That said, if this charming, magical world entrances you, these plot conveniences and shortcuts are easy to forgive.
Ultimately, “Sweet Tooth” is the post-COVID series about a pandemic-filled post-apocalypse that the world needs right now (and it never shies away from showing many pandemic-related images of disinfection, mask-wearing, etc.). The series demonstrates how “family” has multiple, layered meanings and offers an interesting juxtaposition of empathy and hostility. There’s a honeyed sincerity that’s hard to beat, too—like seeing a young boy with antlers discover the joy of sour gummies—and dares you to scoff and be cynical. “Sweet Tooth” shows that even in a world filled with horrible, hate-filled humans, a deadly virus, and violence, there is still joy to be found in your connections with family and the bonds you develop with those you might least expect. Thank you, Gus, and the “weird deer shit” you do. [A]
“Sweet Tooth” debuts on Netflix on June 4.
