Big Mouth is as trenchant and provocative as ever in season 6

The remaining episodes explore the teens pursuing various relationships. Andrew’s jealousy impacts his long-distance bond with Bernadette “Bernie” Sanders (Kristen Schaal). Mulaney is exceptional as his character becomes more unhinged and perverted, or as Andrew’s dad accurately phrases it, transforms into a “depraved little heathen.” However, the actor finds unexpected vulnerability in voicing Andrew, especially once season six digs into the reasons for his obsessive behavior. Missy connects with a new student, Elijah (Brian Tyree Henry), who becomes Big Mouth’s first asexual character. Jay (Jason Mantzoukas) and Matthew (Andrew Rannells) are a full-fledged couple now, much to Lola’s chagrin. Lola remains the MVP, and Big Mouth acknowledges that with an original song that dubs her as a breakout star. Of the many (many, many) characters he voices, Kroll’s work as Lola Ugfuglio Skumpy is his best.

While all these storylines are entertaining if not formulaic, Big Mouth thrives in this new season by focusing on the parental relationships. There are hardly any scenes set in the school, and even the kids’ friendships take a narrative backseat. Instead, season six acknowledges how Nick, Andrew, Jessi, Missy, Lola, and Jay’s upbringings—or, in some cases, lack thereof—have shaped them into the teens they are today. By dwelling on this aspect, the show morphs beyond being a raunchy comedy, to its benefit. Still, staying true to its funky nature in the end, it converges these parent-child arcs in a finale that pays homage to Freaky Friday.

There are gaps this time around, though. Maya Rudolph’s Connie isn’t as present (although Rudolph gets to flex her muscles as Diane, Nick’s loving mom who is at the end of her rope). Supporting characters like Jordan Peele’s Duke Ellington, David Thewlis’ Shame Monster, and Ali Wong’s Ali don’t get sufficient screen time. Which we get. It’s just an unavoidable after-effect of juggling multiple storylines to accurately depict the kids growing up.

Despite these minor flaws, Big Mouth remains one of Netflix’s superior creative comedies. It’s visceral and uncomfortable because the show understands the horror of puberty and capitalizes on the animation to brutally depict it, whether it’s Jay “fucking” his pillows or a turkey, or Missy constantly fantasizing about Nathan Fillion. Big Mouth is a frantic, incisive, nostalgic journey about the difficulties of maturing—and shows no signs of slowing down.