New R18+ Netflix series #BigMouth sexualises kids. Who’s behind it?

Big Mouth is an upcoming Netflix original animated sitcom co-created by Nick KrollAndrew GoldbergMark Levin, and Jennifer Flackett based on Kroll and Goldberg’s teenage years.

Extreme scenes include a father telling his son “a man can lightly kiss another man’s penis” and a young girl inspecting her vagina with a mirror, all underpinned with puberty itself personified as foul-mouthed monsters. Big Mouth is rated R18+ so it’s not intended for children’s viewing. This brings up two questions.

What kind of adult conceives of, writes, produces and promotes cartoons of minors experiencing puberty in such graphic detail?

And what kind of adult derives pleasure by consuming this material?

If you were to assert this entire series is a psyop dedicated to sexualising the natural human experience of transitioning to adulthood, turning children against parents, and normalising aberrant (and premature) sexual behaviour – I’d believe you.

So let me answer my first question. What kind of person is behind this trash?

Nicholas Kroll

Actor, comedian, writer, and producer. Kroll starred in A Good Old Fashioned Orgy and had supporting roles in Sausage PartyDinner For SchmucksDate NightGet Him to the GreekAdventures of Power, and I Love You Man.

Andrew Goldberg

American writer for Family Guy, where he has written several episodes. He is also the author of Brian Griffin’s Guide to Booze, Broads, and the Lost Art of Being a Man, a book published by HarperCollins focusing on Brian Griffin’s beliefs.



Mark Levin

Film director and screenwriter, mostly known for directing the films Little Manhattan and Nim’s Island. He is married to his collaborator, the screenwriter and director Jennifer Flackett. They are the creators of The Man’s Guide To Love.




Jennifer Flackett

Film director and screen/television writer. In television, she has written for series Beverly Hills, 90210, L.A. Law and Earth 2. As a screenwriter, she wrote on the films Madeline (1998), Wimbledon (2004), Little Manhattan (2005), Journey to the Center of the Earth (2008), and Nim’s Island (2008) which she also directed.



Here’s where it gets really interesting. 

Flackett is a project advisor of I Will Remembera program that was pitched to The Next Big Jewish Idea campaign in 2011.

I Will Remember describes itself as a “three-step program in which survivors reframe a young person’s encounter with the Holocaust as a source of motivation and activist community.” The entire premise is basically to radicalise young Jewish people.

We are near the last decade in which our young people can directly connect with those who have lived through the Holocaust, the survivors who themselves experienced the Holocaust as young people. Their personal stories imbue them with a unique moral authority to inspire today’s young people to stand up to our Jewish mandate to repair the world.

I Will Remember is a three-step program in which survivors reframe a young person’s encounter with the Holocaust as a source of motivation and activist community.

Teen-survivor partnerships unite the inspiration of passionate, eloquent elders and the hope and altruism of bright, committed youth. These catalytic relationships create the power of Tikkun Olam squared. 

Tikkun olam (literally, “repair of the world”, alternatively, “construction for eternity”) is a concept in Judaism interpreted in Orthodox Judaism as the prospect of overcoming all forms of idolatry, and by other Jewish denominations as an aspiration to behave and act constructively and beneficially.

Tikkun Olam is “the idea that Jews bear responsibility not only for their own moral, spiritual, and material welfare, but also for the welfare of society at large.” Read more about it at wikipedia.

If Flackett and her husband (Mark Levin) are so dedicated to the welfare of society at large, one can only ask “which society?” when they produce such degrading content as Big Mouth.

To claim an ethno-religious “mandate to repair the world” while promoting child sexuality is a level of chutzpah that shouldn’t even be possible.

As to my second question, who gets pleasure from consuming sexualised childhood experiences on screen? I think that answers itself.










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