Bojack Horseman, an adult animated show that follows a washed-up nineties sitcom star who’s half-man, half-horse, and inhabits a version of Hollywood (which lost its ‘d’ in Season 1) populated by a mix of humans and animals of all species, sounds like a ridiculous concept. Recommend it to a friend with a brief synopsis and there’s a strong chance they’ll crinkle their nose in response. Yet, as those who’ve watched it will know this show, which sounds silly and often is, can also be one of the more bleak Netflix offerings, fitting the bill for the recently coined ‘sadcom’ genre.
Describing a show as ‘bleak’ might put some people off. Equally, describing it as ‘silly’ or even the fact that it’s a cartoon will possibly causes others to turn their noses up. But it shouldn’t – Bojack Horseman dishes the bleak and the silly out in good measure to make for one of the most well-rounded and fleshed out sitcoms (sorry, sadcom) available.
The fourth series begins some time after Season 3 finished with See Mr Peanutbutter Run. Bojack has left Hollywoo and nobody knows where he went. As a result, the titular character doesn’t appear in the first episode. Will Arnett still gets credit for supplying his deep vocals in the form of a voicemail message before the end credits roll, but the episode doesn’t suffer from his character’s absence as Diane, voiced by Alison Brie, fills us in on what’s gone on since Season 3 in the form of multiple voicemail messages. Mr Peanut Butter carries this episode by, as the title suggests, setting up his season arc of running for governor for all the wrong reasons. This provides a decent political commentary that continues throughout Season 4.
The second episode, The Old Sugarman Place, brings us up to speed on what Bojack’s been up to. We soon learn that he’s shacked up in an old, dilapidated cabin and the episode weaves between tales from the cabin’s past and the current day with Bojack as its tenant. Although not everything we’re seeing is explained right away, this episode sets up nicely for the season’s penultimate episode, Time’s Arrow.
https://www.youtube.com/watch?v=Bf12qwPWDVI
All the pieces fall into place with episode 3, which follows a day in the life of Aaron Paul’s Todd. Aptly titled Hooray! Todd Episode!, the episode introduces a major new character to get the season well and truly rolling (to avoid spoilers, I’ll go no further).
Following a strong start, the season dips a little in the middle as it looks to hit its 12-episode quota. That’s not to say that anything is worth skipping as focus tends to alternate between the major storylines, each of which pleasantly simmers away even if it is in the background for an episode or two. And there’s some splendid comedy in there, including insincere Thoughts and Prayers (episode 5) and a cameo from Zach Braff during Underground (episode 7) that goes from charming to dark as tensions rise during the half-hour.
A real highlight of the series comes with Ruthie. This eighth episode takes a page from Hooray! Todd Episode! by following a day in the life of one of the show’s main cast members: Princess Carolyn (Amy Sedaris). In contrast to Todd’s wacky day of shenanigans, the feline manager (because there’s a difference between a manager and an agent; don’t you know they can also produce?) has a bad day. We’re promised a terrible day in the life of Princess Carolyn at the start of the episode by the rather ingenious framing device, and that’s what we get.
The key plot elements established in the first few episodes all tie up nicely in the final couple of episodes, the aforementioned Time’s Arrow and What Time Is It Right Now. Perhaps the only storyline not fully resolved is who actually won the race for governor, although this can be forgiven when considering where Mr Peanutbutter ends the season and with the satisfying way in which the other story arcs come together. I’m sure we’ll find out who the governor of California is come the recently-confirmed Season 5 next year anyway.
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