Bojack Horseman

A staggering feat of achievement. Sharp, light on its feet (relatively!) and compact in its vision.

The creator Raphael Bob-Waksberg is a genius. If not for anything, he is definitely good in pursuing us to follow the route, the track, he wants us to follow. And that is not done by hammering his opinions in our head. There is no manipulation. The purity calls us towards it. And we are curious. Piercing through our emotions like a vicious dagger, a high quality, incorruptible grammar, the show manages to shake and scar us beautifully over the seasons. And when it is time to say goodbye, they cradle us to sleep. This is good filmmaking. The satisfaction floods in and all the worries rushes out. What a show! It has been timely and politically correct and socially educational in its own speech but what’s dug out here is not something that has been currently trending or been a part of the headlines. This is something that we have always witnessed, experienced and still do, addressing once again, one of the most vital issues with the most ridiculously smart way possible. Social messages are not that important as the quality of storytelling is, but if you do it right, like this, like them. That’s just a cherry on top. And despite the fact that it might fit mechanically well, there is this room, space for improvisation that you feel is present and alive between these characters. Bojack Horseman is Will Arnett also. It’s not just good writing. His performance and deeply poignant voice maps a whole new subject and emotions behind the poetic said and unsaid words. The silence is another protagonist. It speaks when no one else does. P.S. No one is good at ending the show or an episode like Raphael is.

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