If it takes the bottomless checkbook of Netflix to finally make the fangirls and fanboys recognize what merde merchants the filmmaking Russo brothers are, so be it.

Famed for making the expensive trains run on time in effects heavy Marvel “event” movies, and for turning the last Avengers, Captain America included, into lucrative but joyless dreck, it was only when Netflix got into the indulge-the-Russos business (“The Gray Man”) that the teeming movie-loving masses finally caught on. Whatever their producing “content” skills, these two have the worst taste.

Netflix confirms our suspicions with their latest, the bloated bore “The Electric State.” The streamer gave the Russos access to Netflix’s first bonafide “star,” Millie Bobby Brown of “Stranger Things.” And if you thought the dog “Damsel” was a warning sign about the starlet’s future, sister, have I got a bridge in Brooklyn to sell you.

“The Electric State” is based on a graphic novel by Swedish comic book artist, designer (And writer?) Simon Stålenhag (“Tales from the Loop”). As a film, it’s a cutesie retro-futuristic/alt history sci-fi action comedy that utterly misreads the moment.

With a world roiled by legitimate AI, robot and computer fears driven by amoral tech bros and their inhumane incel minions, here’s a picture that pitches robot “rights” as its thesis.

Hey, when they’re designed as varying shades of Wall-E adorable, with even Mr. Peanut (paid product placement/endorsement, “brought to you by”) on board, and voiced by a drawling Woody Harrelson, the comic pixie Jenny Slate and singing, hamming Scot Brian Cox, who wouldn’t want to let them run our world and our lives?

In an alternate version of the ‘recent past, society has embraced — thanks to Walt Disney in the ’50s — robots as a vital part of the labor force and of life on Earth. But by the Clinton Administration ’90s, robots have grown sentient enough to see their exploitation. They don’t just go on strike. They revolt, a revolt that erupts into war.

When humanity finally gets the upper hand, robotic spokesmodel Mr. Peanut (Woody Harrelson) negotiates a robotic exile to “The Exclusion Zone,” the American southwest, where no humans may intrude and robots run their own affairs. “Freedom from servitude” at last!

That’s the world siblings Michelle (Brown) and her super smart younger brother Christopher (Woody Norman) are growing up in. Until, that is, the “accident.” Michelle survives. Her sibling doesn’t.

But a robot version of their favorite canceled kiddie TV show Cosmo shows up. And for all the catchphrases this retro “Robots” style robot sputters in the voice of Alan Tudyck — “The Earth is in danger!” “The solar system’s gone haywire!” — Michelle picks up on who’s actually controlling this robot.

Her brother isn’t “dead” at all! He’s being held by Big Science somewhere, he doesn’t know where, and his only hope of escape is sending this kitschy corner of their past to his sister, who must track him down.

With a little help from that robot and from smuggler Keats (Chris Pratt) and his robotic sidekick Herman (Anthony Mackie) and the “misunderstood” robots out there in the Exclusion Zone, maybe they’ll foil the evil scientist (Stanley Tucci) and his military, VR robot inhabiting muscle (Giancarlo Esposito, like Mackie, fresh off of “Captain America: Brave New World”).

Aimed at kids who’ll giggle at the adorably retro robots and snicker at the profanity, “Electric State” creates cringes you didn’t know you’d cringe about.

Robot/human sing-alongs to “I Fought the Law and the Law Won,” Brian Cox’s baseball-promoting robot bellowing “Take Me Out to the Ballgame,” stupid “Don’t Stop Believing” and “I Will Survive” needle-drops on the soundtrack, groaning abandoned mall jokes (where the food court’s “no expiration date” foodstock is clumsily mocked), it’s all here.

So are Cox, Slate and Mackie, among many others, all voicing the collectibly cute robots with some of the most insipid voice casting/acting since Slim Pickens was brought in for Disney’s “The Black Hole” 40 plus years ago.

At least Mackie is spared, with his voice autotuned/helium pitched into unrecognizability.

“Clapper” — the gadget that let you clap-on-/clap-off the lights in your home — is the “highlight” of not-distant-past references meant to play as jokes.

Pratt gives his all, more or less. Tucci and Esposito hire out their professionalism one more time. Ke Hey Quan, playing a cutesie scientist and a cutesier “P.C.” workstation, is the most embarassed Oscar winner here. Holly Hunter collects a check as a TV interviewer.

And the Russos? They pile it up high and deep, five shovelfulls at a time.

There’s barely a laugh or an entertaining moment in all of this. And as they’re the ones in charge of bringing “The Avengers” back with films in 2026-27, abandon hope, all ye faboys/girls who enter here.

Rating: PG-13, violence, profanity

Cast: Millie Bobby Brown, Chris Pratt, Giancarlo Esposito, Jason Alexander, Ke Huy Quan and Stanley Tucci, the voices of Woody Harrelson, Jenny Slate, Alan Tudyck, Brian Cox, many others

Credits: Directed by Anthony Russo and Joe Russo, scripted by Christopher Marcus and Stephen McFeely, based on a novel by Simon Stålenhag. A Netflix release.

Running time: 2:08