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“Girllaaaaaaa … das Mufasaaaaaaa,” wrote Adiz “Bambi” Benson of “Love & Hip Hop: Atlanta,” echoing the chant from Pierre’s viral December stroll down the Spirit Tunnel backstage at Jennifer Hudson’s show.

At six episodes, it’s shorter than many such streaming dramas, and yet it’s so stuffed with business — conspiracy business, family business, romantic business, “Who Killed Bambi?” business — that “Zero Day” does grow a little exhausted, a little wobbly, as it nears the finish line.

So he and his team looked both backward and forward: They drew heavy inspiration from Tyrus Wong’s revered painted environments for 1942’s “Bambi” and used cutting-edge computer animation tools to achieve the analog-looking visuals.

“I wanted people to see this film like I saw ‘Bambi,’ as the most glorious, sophisticated tone poem of a story that packs a wallop.

“We were going for something very specific, again, much more like Ty Wong and his styling for ‘Bambi,’ ” says Sanders.