Every generation in the history of the Western World figures it’s the one that has mastered bringing up babies, that the difficulties it tackles are “new” and not as old as time itself.

And there’s always a raft of movies and TV series that reflect this, each introducing the new wrinkles to this process that the modern world has caused — “Baby Boom” to “Parenthood,” “thirtysomething” to “Kramer vs. Kramer” and on and on it goes.

“The Wonder Weeks” is a Dutch dramedy that follows three couples through the minefield of modern problems. They’re coping with traditions and inlaws from a different culture, the rights and place of a biological father with regards to the kids he fathered for a lesbian couple, and a two-career marriage struggling to care for a baby during a “boom” caused by “everybody” getting pregnant during the COVID lockdown, which strains even a nanny state’s childcare system.

The film has little in the way of “edge,” a few lighter moments, some eyebrow-raising judgements and the hopeful tone of a tale set in a recently-diversified but always modern culture, that “We’ll figure this out” Dutch pluck.

Titled “Oei, ik groei!” in The Netherlands (and possibly 20 minutes longer when it premiered there), “Wonder Weeks” introduces us to Anne (Sallie Harmsen) as she’s grimacing through childbirth and threatening her clueless husband Barry (Soy Kroon) for videotaping it.

But on getting home, they run afoul of the nurse/social worker who nags them about their “fat baby” and insults/guilts them because little Mia “hasn’t rolled-over-yet.” They can find no vacancy in their local daycares, and Barry quickly proves to be even more tone deaf as he slacks-off taking turns when the baby awakens in the night and thinks nothing of leaving partner-track lawyer Anne holding the bag, and the bottle.

Ilse (Yolanthe Cabau) didn’t marry her Moroccan mate Sabri (Iliass Ojja), something that irks his “traditional” mother. And apparently they didn’t have the circumcision and circumcision ceremony argument before the little boy was born. There’s a party involved? All his relatives will come over for an extended visit in the middle of the most stressful months of their lives? There’s a sheep in the tub, a special “guest” for the party?

Roos (Sarah Chronis) has her second baby with bossy, dictatorial Kim (Katja Schuurman) thanks to the sperm of never-grown-up Kaj (Louis Talpe). But now he’s ready to get involved with “his” kids’ lives. Kim isn’t having it.

The targets for jabbing here are mostly on-the-nose — secular vs Islamic culture clashing, a “cult” like “Moms 4 Moms” group that corners the market on childcare vacancies and trots out absurdist “Baby yoga,” “baby guru/healer,” “Mommy self-care” fads, for a profit.

And then there’s the marriage neglected because of work and a new baby and the temptations of a nanny.

The men are generally presented in an unfavorable, uncommunicative, abdicate responsibilities light. One member of the stereotypical lesbian couple has to be the “ball breaker” (A “Friends,” era rule.) and the Muslims are annoying, inflexible primitives.

All these stereotypes and all this new parent/different culture/gender “judging,” and barely a laugh or original thought enters into it.

But the players are good and the situations became cliches for a reason — because millions have dealt with variations of these issues in their own child-rearing years.

No, the “problems” aren’t new. The depiction of them and attempted solutions aren’t something this generation “discovered,” and the dramedy about that non-discovery isn’t all that.

Rating: TV-MA, masturbation, profanity, poop jokes

Cast: Sallie Harmsen, Yolanthe Cabau, Katja Schuurman, Sarah Chronis, Louis Talpe, Soy Kroon and Iliass Ojja

Credits: Directed by Appie Boudellah and Aram van de Rest, scripted by Appie Boudellah, Mustafa Boudellah and Maikel Nijnuis, based on a book by Frank Plooij and Hetty van de Rijt. A Netflix release.

Running time: 1:31