RAPHAEL BOB-WAKSBERG'S animated series about a washed-up, depressed, alcoholic sitcom star who also happens to be a horse-man (or is it man-horse?) is the toughest sell on TV that also happens to be one of the medium’s finest animated shows. Season 5 is the show’s most ambitious yet, taking on the foibles of its lead so thoroughly that by the end, BoJack (Will Arnett) is picked apart, examined, and found wanting.
It helps, along the way, that BoJack Horseman
is very, very funny -- as exemplified this season by a scathing satire of a prestige drama, a sex robot named “Henry Fondle,” and a floating, BoJack-shaped balloon, which happens to interrupt the solitude of Character Actress Margo Martindale. Bojack Horseman
’s discourse on forgiveness, guilt, and redemption is so elevated that it’s not just impressive for television: it’s impressive for the state of our discourse in 2018, period, especially because in this uncomfortable moment for powerful men and institutional nostalgia, the series refuses to settle for easy answers.
The final moment of this season, scored to The War on Drugs’s “Under the Pressure,” has stuck with me like little else has this year; it’s a still, brief moment of grace.https://twitter.com/KeithOlbermann/stat ... 6240800769