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BoJack Horseman’s Humanity Is in Its Anthropomorphism

Before delving into the mechanics of how BoJack Horseman simultaneously accumulated a dedicated fan base and equally appreciative critics and film scholars, it would help to dive deeper into the past of the animation industry itself.
Going as far back as the 1870s, this was the period where the vaudevillians Joe Weber and Lew Fields began to produce their well-known comedic acts. These traditions would go on to influence the Fleischers, who adopted the “two-act” form and concocted a relationship between their inversely sized protagonist and antagonist, which existed in the “material order of an industrial society, [where] the very closeness that brings friendship brings also exploitation, antagonism and ultimately violence” (Langer 9), a notion that strongly resembles the interpersonal relationship dynamics of BoJack Horseman’s characters.

In the context of the show, most of the primary characters know each other through their professional settings and capacities. Both strong ties and weak ties in the web of their social circle are mostly through their roles in and around “Hollywoo”. For instance, BoJack considers Mr. Peanutbutter an industry arch-rival, even though the latter might not think the same, and Mr. Peanutbutter’s former girlfriend Diane Nguyen proceeds to become BoJack’s ghostwriter first, and then gradually forms a difficult, codependent friendship with him. Princess Carolyn was BoJack’s former agent (then manager), through whom she meets Todd, who proceeds to become a nanny-like figure to her daughter in later seasons. Sarah Lynn, a former child actor who dies of an overdose, is first exposed to drugs through BoJack on their Horsin’ Around set, and meets her tragic end while consuming drugs with BoJack Horseman, an occurrence that is indicative of coming full circle.

There are instances where viewers witness relationships in more personal capacities, such as backstories to BoJack, Diane, and Todd’s families, but of course these are…