Luckily for the titular horse, the big season reveal downgraded him to half-brother, a role he is slightly less terrible at, and Bojack ended the season with a commitment to improving himself, not only for him, but for his new family member.

While Bojack Horseman has always explored the process of trying (and failing) to improve, season 5 has been all about false starts, surface-level improvement that fails to dig deep. BoJack Horseman season 5 is a bold, bracing look at a culture that shirks responsibility; Insecure dropped a big reveal in its latest episode. Thus, Diane reaches the conclusion that it’s not “Philbert,” it’s Bojack, and his simplistic view of himself as a “bad person” that is the problem. But that’s the way he’s been throughout his entire life, selfish, and he’s attracted it back to himself.

She posits aloud that "if Philbert is just a way for dumb a**holes to rationalize their own awful behavior,” then she doesn’t want to be a part of it.

As Bojack unintentionally rallies against his misogynist co-star, he’s painted as a feminist, which quickly becomes an opportunity for emotional growth, as Bojack is forced to question the questionable themes that “Philbert” is promoting. Bojack Horseman is a reprehensible, yet relatable character, but he always feels the consequences of his actions, eventually. Of course, Vance finds forgiveness in Hollywoo easily, by taking the right steps - a softly spoken interview, a break from the spotlight, then a role as an edgy anti-hero.

Meanwhile, callous co-star Gina’s casual-sex relationship with Bojack cautiously blossoms, the two attention-seeking loners having much in common; selfish and sensitive in equal measure.

Princess Carolyn is thriving in her role as producer, and roommate Todd finally begins to flourish, for once undergoing a season-long arc instead of going off on wacky tangents. And our storytellers have a responsibility to tell tales that don’t glamorize destructive behavior, (although the extent of their influence on society is questionable, it surely has an impact). We all do, though some more than others. So with the help of Diane, “Philbert” becomes less of a show about a bad man doing bad things while looking cool, and turns into the story of a man haunted by said bad things, a show about dealing with repercussions. It is, no doubt, an issue many women working in Hollywood have likely had to grapple with, considering the sheer glut of Complicated Male Antiheroes that exist in media narratives right now. And the show concentrates on this theme not to excuse bad behavior, but, instead, to try to help us understand how it can be better combatted before it happens, how self-loathing becomes a self-fulfilling prophecy of destruction — I am a shitty person, who does shitty things. Community was one of the most inventive shows in TV history.

Initially, the only way the two can acknowledge what happened is for Diane to write the incident into the script, word-for-word, while Bojack recites the lines in a forced on-camera confessional.

Indeed, their simplistic, opinionated articles might just be making the problem worse.

We are all making day-to-day decisions that define us by the moment, and we’re free to veer off and change course any time we want. He’s been privy to the overdose and death of a young woman who looked up to him. In the season’s last section, BoJack checks into rehab to work to contain his latest addiction (to painkillers). Though the characters begin the story separated, they slowly come together through the show at the center of the show, and. I'm fascinated by all forms of storytelling; movies, television, mythology, fairy tales, and urban legends. Without a doubt, the highlight of the season is the series’ more emotional investigation of its women, like Princess Carolyn and her maternal woes, and Diane, who is fully in crisis after the disintegration of her marriage to Mr. PeanutButter.

More importantly, Gina’s career must go on. There’s a sense of reconciliation and hopeful forward momentum that permeates the arcs for every character, and it’s nice to see a bit of hope in a show that’s always preferred to go deeper down into the depths of darkness. It’s one of the reasons I suggested, back in the show’s second season, that it would be a successor to Mad Men, and I’m astonished at how the series hasn’t really gone wrong since. If there is a reason BoJack can remain our protagonist, it’s because he, however fitfully, makes a few steps forward every season. If you were not a fan of the slightly uneven fourth season, you’ll be happy to know the show really refocuses in Season 5, continuing to build its complex portrait of working Hollywood satire.

We can certainly condemn toxicity, but we could do without the “holier-than-thou” mentality - we already tried that with organized religion, and it didn’t work out so well.

Diane and Mr. Peanutbutter struggle with their divorce, and Mr. Peanutbutter jumps on a young, excitable rebound, while Diane becomes socially withdrawn, isolated in her crappy apartment.

And when it comes to BoJack this season, there is no rooting for him. Seeking another sitcom-style grand gesture, he asks Diane to write an expose on him, but she refuses.

really went all out in experimentation, with an entire episode consisting of a single monologue, another that played loose with reality, and a few jumps through time, my personal favorite being Bojack’s unwanted Halloween party that endlessly repeats itself.

But the series also twins that idea with the idea of blame, the idea of finding a scapegoat and sometimes even a completely justifiable scapegoat. This season, this particular message is highlighted by the fact many of the people in Bojack’s life try to steer him in the right direction. I realize this makes the series sound a little like Philbert, at least in the sense that it’s a self-important slog. BoJack Horseman’s five seasons are all available on Netflix.

What does that look like? BoJack Horseman has continually proven itself to be one of Netflix’s smartest, most inventive series, taking the sort of storytelling and emotional risks not often seen on TV, period, let alone in an animated show.

But Diane refuses to do that, telling BoJack that he’s not a good person or a bad person — he’s just a person. But that is also, on some level, too easy an answer for this show. We can choose to hold grudges, or to move on. All Rights Reserved, This is a BETA experience.

It’s indicative of a culture addicted to pretending responsibility is a joke, that if you really try hard enough, you can absolve yourself of bad deeds without having to work at redemption.

The world is not divided into two simple shades of good and evil - if only it were that simple. . Then he “grew up,” got a real job, created an in-house sexual predator and watched him fail his way to the top. "Something has to change," is the thesis of the whole season, on macro and micro levels, for every character - and it’s nice to see a show push itself in ways that may challenge how we, the viewers, interface with the stories we love.

saw our obnoxious antihero take on the reigns of fatherhood, only to prove just as terrible at the job as his parents.

At one point towards the end of the season, hot on the heels of Philbert’s world premiere, Diane lays into BoJack, the show, and her place in enabling the lot of it, which results in a beautiful meta-takedown of BoJack and the system that continues to not only enable, but romanticize, the bad behaviors of broken people. The world is not divided into two simple shades of good and evil - if only it were that simple. (BoJack physically assaults his female co-star and lover this season, in an on-set stunt that goes horribly wrong partly because he’s so high.)

By Kevin Yeoman Sep 14, 2018 Millions rely on Vox’s explainers to understand an increasingly chaotic world. Legendary star of the 1990s family favorite sitcom “Horsin’ Around,” BoJack (Will Arnett) has been trying to find his way through a muddle of self-loathing, whiskey and failed relationships. Bojack’s soundbite feminism, his jovial attitude during the first few episodes were merely a facade, a plaster over a festering wound.

And it’s easy enough to imagine these writers finding a way to make that battle resonate with our current era. If you’ve loved BoJack in the past, you'll love where it seems to be heading next. But it’s nice to see that series creator Raphael Bob-Waksberg is at least trying to right this wrong by taking away the unspoken whiteness of Diane and bringing in more of her experience as an Asian-American woman.

Gina is faced with a terrible choice - be defined by that terrible moment for the rest of her life, or pretend it never happened, to laugh with the man who assaulted her on-camera and convince the public that Bojack is a nice guy. After all, if any showbiz satire on television could plumb the depths of its main character being held accountable for past misdeeds by a #MeToo-esque movement, it’s BoJack Horseman, which is as haunted by the past as any great ghost story. It is a beautiful show, and one that constantly finds new ways to surprise me. The season opens up against the backdrop of Philbert, the dark and gritty prestige cop show set to cement BoJack’s career resurgence and general viability as a star. Possibly.

It’s unlikely that Bojack will ever have that happy sitcom ending - he might just have to settle with being “ok.”. It’s the most important election in our lifetime, and it always will be.

We never know how important an election really is until long after it’s over. Season 4 of Bojack Horseman saw our obnoxious antihero take on the reigns of fatherhood, only to prove just as terrible at the job as his parents.

The series has all the hallmarks of the Peak TV fare we’ve come to know: a dark antihero at the center, a mystery that slowly unfolds, a maybe-ghost-consciousness stand-in, and a wannabe TV visionary/hack showrunner in Flip McVickers (voiced oh-so-perfectly by Mr. That’s the hard part.”, And our storytellers have a responsibility to tell tales that don’t glamorize destructive behavior, (although the extent of their influence on society is questionable, it surely has an impact). BoJack Horseman is famous for being emotionally wrenching. There’s also side story involving a mad sex robot who ends up running the series’ version of Netflix. This is the burden carried by the women and men who publicly accuse the famous figures who have assaulted and abused them - they risk their entire career for a shot at justice. And in season five, BoJack Horseman brings all of that character development down around its ears, in a stretch of episodes that represents the most precise dissection of BoJack Horseman yet — and perhaps the first truly sustained artistic response to the #MeToo movement, albeit one that was largely crafted before the fall of Harvey Weinstein (though Mel Gibson was on the show’s writers’ mind).

The Supreme Court ruling on Pennsylvania mail-in ballots is a blow to GOP — but the 4-4 vote should scare Democrats. He’s drank and caroused and just generally burned his life down, over and over again. While Bojack Horseman has always explored the process of trying (and failing) to improve, season 5 has been all about false starts, surface-level improvement that fails to dig deep.



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