Kat Dennings Talks Breaking the Sci-Fi Heroine Mold in Dallas & Robo
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The eponymous main characters of Dallas & Robo, the new YouTube Red original series from Mike Roberts and adult animated comedy superproducers ShadowMachine, are not your average space cadets. They’re not the haunted cowboys of Firefly. They’re not concerned with cosmic destinies like the Guardians of the Galaxy. They’re not even the manic semi-protagonists of Rick and Morty, the show’s closest cousin. They are strictly there to fuck around and have a good time, particularly Dallas (Kat Dennings), an unconventional heroine. “She’s kind of bad,” says Dennings. “She drinks, and she’s crazy, she’s impulsive, she’s lecherous.” And she could truly give a shit about whatever space problem you’re dealing with right now.
This is apparent right from the cold open of the pilot, which sees a couple flying in the wrong side of the quadrant beset by a gang of space cannibals (sort of a cross between War Boys and Reavers, and not the last of the sci-fi references the show regularly trades in). Before they can be eaten, the spaceship equivalent of an eighteen-wheeler barrels out of nowhere and crashes through the cannibal fleet, decimating it. Who are their rescuers? What compelled them to save the day? Well, it’s just Dallas and Robo (John Cena). Literally asleep at the wheel.
It’s the first opportunity Dennings has had to flesh out an animated character to this degree, despite having dropped in on almost every animated sitcom you can name. “It’s interesting,” she says. “They have the episodes all done before you start recording the season. So that’s a luxury that, doing other types of TV, you don’t have. You do a few episode and then you don’t really know what happens next. Whereas in this, you kind of complete her whole story, and you get to see sketches… With this I had the luxury to see what she looks like. Sometimes you don’t have any idea who you’re playing.” This doesn’t just allow the character to begin the series more or less fully formed, it opens up opportunities for new character choices that wouldn’t be possible otherwise. Animation becomes, in Dennings’ words, “the most freeing way of acting.”