He’s back to his roots: cynical Gus (Gervais), uncouth Fang (Andrew Brooke) and their feral friends are street cats, but they’ve found a derelict house with a sofa and a TV where they can banter like a sitcom family. The dialogue, however, is more like the podcasts Gervais diversified into once he was established on TV.
As the group tackle debates including the method by which they’d prefer to die, if there’s a god and whether bees produce enough honey, Ponce’s efforts to lord it over his frenemies never work, because he’s bullied out of every conversation with a torrent of abuse and nonsensical arguments. If you’ve ever wasted time arguing online, you’ll know the dynamic: Person Who Knows Things versus Trolls. Alley Cats jeers along with the trolls.
View Green Video on the source websiteIn both Derek (elderly people, and people whose brains are wired differently, are magic – it is sad when people are mean to them!) and After Life (it is sad if your wife dies!), the addiction to patronising homilies was terminal. You might assume a 15-minute cartoon about talking animals would be immune: there’s not much time left after everyone’s finished calling Ponce a "c***". But Gervais just hyper-accelerates his trademark mawkishness. Alley Cats makes his live-action comedy dramas look like Tolstoy.
You’ll love the two-scene narrative arc about Gus and his estranged mother. The running stories where Gus hides his concern for a stray named Kitten (Jo Hartley) and stalls before committing to romance with obvious soulmate Lara (Kerry Godliman) – because although he tells his mates he doesn’t care about anything, he’s really a softie! – are not much more sophisticated.
The mix of raucous crudeness and simplistic sentimentality – one thing the two elements share is that they’re both aggressively, insistently philistine – has become the signature Gervais style, but that doesn’t make Alley Cats any more appetising. In 2D, his writing falls flatter than ever.
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