The third episode of Netflix’s animated comedy “Alley Cats” begins with protagonist Gus, an overweight orange tabby cat, voiced by Ricky Gervais, who is also the writer, creator, and frequent director of the show. Gus, resembling Garfield but with a working-class British accent, outlines his plan for the day: achieve a simple goal, then quickly get sidetracked and engage in bizarre, pointless activities that make matters worse. His day includes killing something, eating parts of it, abandoning their mission, returning home, and sleeping for 14 hours.
Their “home” is a rundown London rowhouse where Gus and his friends Puke (voiced by David Earl), Fang (Andrew Brooke), and Olive (Diane Morgan, known for her role as Philomena Cunk) squat. The cats spend their time watching TV, including a “Love Island” parody called “Thick and Single,” news clips of looting, and nature documentaries. They engage in trivial conversations and generally follow Gus’s chaotic routine. The show unfolds over six episodes, each under 20 minutes, carrying a surprising hint of melancholy, which is unexpected from the typically sharp-tongued Gervais.
With another series being swiftly canceled, it is unlikely that many viewers have seen both “Alley Cats” and “Kevin,” an Amazon Prime Video series co-created by Aubrey Plaza with a similar theme. Critically comparing the two reveals insights. Both are adult-oriented cartoons available on streaming platforms, featuring feline characters in big cities. However, “Kevin” is louder, more chaotic, and filled with jokes — arguably more American — while “Alley Cats” is more subdued and dryly humorous.
“Alley Cats” explores social class dynamics, reflecting its British origins. The group also interacts with a housecat they nickname Ponce (played by Tom Basden), who is more refined and pampered than his companions. Ponce speaks with a posh accent, enjoys pudding, and is neutered, making him immune to Olive’s unrequited affection. The rest of the group freely uses coarse language and engages in pointless debates, such as whether four cats could defeat “one fat kid” or whether bees are edible. Most of the humor arises from these mundane, mumbled exchanges rather than traditional jokes. Puke, the scruffiest member, admits his genitals are injured because he had an encounter with a hedgehog.
“Alley Cats” doesn’t just focus on the harshness of street life but also portrays its difficulties with surprising candor, sometimes approaching despair. One crew associate is quickly introduced and then fatally hit by a vehicle. A neglectful father is comforted with the notion that his absence might have been the best thing for his kittens, who were adopted and grew into healthy triplets. The season ends with the line “we’re all gonna die soon.” This undercurrent of gloom sometimes leans towards nihilism, as Gus declares in one of his rants against humanity, “I can’t wait for people to wipe people off the face of the Earth.” However, the general tone is one of acceptance of their tough life, which also offers some joys.
The plot of “Alley Cats” follows a lost kitten (voiced by Jo Hartley) whom the strays try to help find her way home. Gervais avoids overt sentimentality while portraying Gus’s growing fondness for the adorably drawn kitten, whose eyes are notably large. The story concludes on a bittersweet note that matches the overall tone. A genuine warmth emerges amidst the crude banter and pessimistic outlook. Although “Alley Cats” is tightly packed, sometimes lacking depth, it still offers an engaging and understated viewing experience. A subplot about Gus’s ailing mother is introduced so abruptly that it can be confusing. Essentially, this is a laid-back sitcom about free-roaming cats, but it takes an unexpected turn that makes for an enjoyable, relaxed binge. Even cats with a flair for nonsense have emotions.
All six episodes of “Alley Cats” are now streaming on Netflix.
