Woody Harrelson's latest venture into the world of television is a curious one, to say the least. The actor, known for his laid-back demeanor and advocacy for cannabis, lends his voice to the animated series 'The Freak Brothers,' an adaptation of the 1971 underground comic strip by Gilbert Shelton. The show, which premiered in 2021 on Tubi, follows the adventures of three perpetually stoned characters, who find themselves in the year 2020 after a bizarre time-displacement event. While the premise is intriguing, the execution leaves much to be desired.
The comic's original charm lay in its unfocused, stoner-induced chaos, but the animated series struggles to capture this essence. The characters, though perfectly cast with Harrelson as the cowboy-inflected Freeheelin' Franklin, Pete Davidson as the intellectual Phineas, and John Goodman as the blissfully unaware Fat Freddy, feel detached from reality. The show's attempt to blend traditional TV storytelling with the comic's countercultural spirit falls flat, resulting in a raucous yet shallow experience.
One of the most fascinating aspects of 'The Freak Brothers' is its exploration of the counterculture of the 1970s. However, the show's humor, while raunchy, lacks the edge and impact of the original comic. It plays more as Boomer nostalgia, a comfort food for middle-aged viewers, rather than a genuine reflection of the era's rebellious spirit. The show's supporting cast, including Tiffany Haddish as the cat, Kitty, doesn't quite hit the mark, and the overall execution feels underwhelming.
Despite its flaws, 'The Freak Brothers' has found an audience, with its third season released on Tubi in April 2026. The show's longevity suggests that there is a market for this type of content, but it remains to be seen if it can reach its full potential. As an expert commentator, I believe that the show's strength lies in its ability to spark conversations about the counterculture of the 1970s, even if it falls short of capturing the essence of the original comic. The series, despite its shortcomings, is a testament to the enduring appeal of stoner humor and the complexities of adapting underground art to mainstream media.
