As is annual tradition in the Story Screen Family, all your favorites (Mike, Bernadette, Robby, Jack and Diana) sit down to go over the Oscar nominations and discuss their picks, their expectations and generally talk dat good talk about some of the most acclaimed films of the past year. Listen on.... #Newsletter #Podcasts #Oscars #AcademyAwards #92nd #Gold #MikeBurdge #BernadetteGormanWhite #RobertAnderson #JackKolodziejski #DianaDiMuro

With the Oscars quickly approaching and releasing their vast list of nominees, 2019 has truly been an excellent year for movies. I can confidently say that some of the top films on this list have not only made 2019, but also deserve recognition as some of the best films of the last decade. Out of obligation to the multitude of notable releases, I added a few extra honorable mentions before revealing my number one pick. 10. The Lighthouse The Lighthouse is a gripping period piece, following two nineteenth century lighthouse caretakers slowly losing their sanity to a remote island. The film is shot in black and white, adding a gritty, ominousness layer to the scenes. Certain aspects of The Lighthouse felt similar to Stephen King’s The Shining : the isolation, the perverted sexual scenes, and the audience watching the effects of cabin fever slowly overcome characters. As cabin fever madness distorts perspectives, you question the narrator’s reliability. It’s a mystery if what the audience sees is what’s really happening, or a hallucination of the characters going mad. Led by Willem DaFoe and Robert Pattinson, The Lighthouse is a slow terrifying burn, keeping the audience only guessing at what will happen next. 9. Brittany Runs a Marathon Lose weight, and the rest of your life will turn around too! We’ve watched countless females on the screen become “better” characters after a makeover. There’s Anne Hathaway’s Mia Thermopolis straightening her hair in The Princess Diaries , Ally Sheedy’s “basket case” from The Breakfast Club receiving a makeover from Molly Ringwald, and Olivia Newton-John’s iconic transformation as Sandy from preppy school girl to black leather in Grease . Paul Colaizzo’s Brittany Runs a Marathon isn’t simply a story about an unhappily single, unemployed, overweight woman trying to look better. This is a story of a transformation of self and personal growth. Brittany trains for the NYC marathon to improve her health, and to prove to herself that she can take control of her life. Brittany Runs a Marathon sends positive messages to its audience about body image and being healthy, without the classic Hollywood message of, “you’re thin, therefore successful.” The film is an inspirational, comedic, emotional true story of Brittany training, not just to win a marathon, but also to build the confidence to improve her life. 8. Toy Story 4 As someone who grew up enjoying Toy Story , it was easy to be skeptical about the quality of a fourth franchise nearly a decade after Toy Story 3 . But even with big shoes to fill, Toy Story 4 succeeds as a wonderful continuation of the story with Bonnie. Forky’s personality can best be described as Frozen’s Olaf going through an existential crisis. Constructed from a spork and art supplies found in a kindergarten trash can, Forky is constantly running away from Bonnie and wrecking havoc for Woody. His emotions resonate deeper with audiences during his heart-to-heart talks with Woody about his purpose in life. Toy Story 4 answers questions of what truly makes a toy a toy. 7. 1917 Loosely based off the true stories told by his veteran grandfather, Sam Mendes directs a World War I epic about two British Corporals with an urgent message to deliver. The soldiers must cross no-man’s land to call off a British attack that the Germans secretly plan on ambushing. If the message isn’t delivered in time, over 1600 soldiers could perish, including Corporal Blake’s older brother. The music enhances the emotion of the scenes, without becoming an overpowering cacophony (something I think 2017’s Dunkirk could have improved upon). The early twentieth century costumes look very realistic to the time. While the story is a bit predictable, it’s a deeply moving film to watch on the brutality of war. 6. The Farewell A heartfelt family comedy and drama, Lulu Wang’s The Farewell , centers around Chinese-American Billi learning of her grandmother’s stage 4 terminal lung cancer diagnosis. In an effort to spare the grandmother any emotional burden and follow their traditional collectivist values, Billi’s family does not tell the grandmother she only has several weeks to live. The family forges clean medical bills, and stages a wedding in China to serve as a place for the family to say their last goodbyes. “Chinese people have saying - when people get cancer, they die. It's not the cancer that kills them. It's the fear.” Director Lulu Wang based the story on her own family’s lie to her grandmother about becoming terminally ill. In fact, when Wang’s grandmother would visit the set, the cast and production members would lie about what the movie was about , saying it was based on their family’s immigration story. 5. Jojo Rabbit Taika Waititi’s satirical Jojo Rabbit really pushes boundaries by telling the story of the World War II Nazi regime from the perspective of a nationalistic, ten year old German boy. In this black comedy, Jojo has been completely brainwashed growing up with Nazism. His imaginary best friend is a parodied Adolf Hitler (played by Taika Waititi). Discovering that his single mother (portrayed by Scarlett Johannson) has been hiding a Jewish girl in their home, Jojo struggles to come to terms with the ideas of the anti-Semitic nation he has so proudly grown up in. Jojo Rabbit points fun at the fact that by the end of World War II, even a small privileged Aryan boy couldn’t ignore the Nazi regime’s brutality. 4. Frozen 2 Frozen 2 was my favorite new Disney film of 2019. Olaf’s perfectly timed comedic relief (“Samantha?”) and character development has come a long way since his dotty debut in Froze n. Kristoff’s character was greatly improved as well. Instead of trying to save or protect Anna from battle, Kristoff fights alongside her. One of my favorite lines is when he asks Anna, “I’m here; what do you need?” Idina Menzel’s wide singing range is highlighted in Queen Elsa’s powerful ballad “Into the Unknown.” Seen by some as the “Let it Go” of Frozen 2 , “Into the Unknown” kicks off Elsa’s new journey of self-discovery. While continuing to emphasize the strong sisterly bond between Elsa and Anna established in the first film, Frozen 2 embraces new themes, such as overcoming fears of change, the importance of teamwork, (and some rather mature historical references towards white supremacy that likely went over the heads of younger audience members). Frozen 2 is an inspiring Disney film that people of all ages will be able to enjoy. 3. Marriage Story Despite the fact that Marriage Story is so heavy that I may not be able to watch it again for some time, it had to make my top movie list for 2019. Scarlett Johansson and Adam Driver play a New York couple undergoing a divorce in California. They are fighting for child custody over their young son, Henry. The movie has an amazing all-star cast; Scarlet Johannsson’s lawyer is played by Laura Dern, and Adam Driver’s lawyer is played by Alan Alda. The courtroom scenes are intense and uncomfortable; the lawyers ruthlessly bring up personal attacks against each former spouse in an attempt to win the judge’s sympathy (similar to the misconstrued courtroom attacks seen in Kramer vs Kramer ). With painful fights, and perhaps even more intense silences, the entire cast of Marriage Story gives phenomenal performances in this emotional rollercoaster. 2. Joker Leading the Oscars so far with 11 nominations, is the violent, darkly disturbing Joker . Joaquin Phoenix’s performance as Arthur Fleck descending into madness was the best casting decision that could have been made. Phoenix absolutely nails it as a lonely, mentally ill man, taking care of his mother in their broken down apartment. He works as a clown and dreams of becoming a stand-up comedian. His sense of humor is incredibly dark, and he struggles to make connections with others. Joker is not only a comic book story about early Gotham and the rise of a villain, it accurately questions the society and systems that bring Arthur Fleck lower and lower until he resorts to violence . Honorable Mentions: Pain and Glory, Little Women, Once Upon a Time... in Hollywood, I Lost My Body 1. Parasite Bong Joon-ho’s Parasite is a perfect movie; it wraps comedy, crime, drama, romance, horror, suspense, and mystery all into one. It begins as a South Korean satirical comedy on class divide. A cunning, destitute South Korean family, (living in urban slums so gritty that strangers urinate outside their window) finds a way to sneak into the privileged lives of a millionaire’s household. With plot twist following plot twist, Parasite is difficult to describe without giving away any major spoilers. Parasite is a must-see masterpiece. Walk into this film without any preconceptions, and leave paralyzed with shock and amazement. Sophia Acquisto A Beacon resident since 2001, Sophia is pursuing a master’s degree in education at SUNY New Paltz. #Newsletter #Articles #Top10 #Bestof #Bestof2019 #2019 #SophiaAcquisto

Jack and Robby tackle one of the most talked about movies of the 2019 award season, 1917 . So, does this thing slap or not?? Listen on.... #Newsletter #Podcasts #HotTakes #RobertAnderson #JackKolodziejski #1917 #SamMendes #RogerDeakins #Oscars

Welp, we went and saw Cats (2019). Then, Jack and Robby sat down with super spicy guests, Tim Irwin and Mike Burdge, to talk about it all. Oh, and they try escalating degrees of hot sauces every five minutes. Fun!! Listen on.... HOT ONES ONLINE STORE #Newsletter #HotTakes #JackKolodziejski #RobertAnderson #MikeBurdge #TimIrwin #Cats #HotSauce #Spicy

I first noticed and identified with the notorious contrarian critic Armond White back in 2011; he hated everything about the now cult-classic Bridesmaids , and raved about the Transformers movie that came out that year: Transformers: Dark of the Moon . (I still can't believe that's the title.) I didn't agree with him, but the bold declaration and stance that White took was something I weirdly admired. I myself am a contrarian, and I've never known exactly why. It's never to upset anyone, and it isn't to put myself on some "holier than thou" pedestal. Maybe it's because I respect and try to understand why other people are compelled to do things in a different manner. And yes, I can even understand that my previous sentence can come off as self-aggrandizing, but I had no intention of that either. 1999's Man on the Moon , is a brilliant depiction of Andy Kaufman’s legendarily unconventional contrarianism, and Milos Forman's take on his intent. Was Kaufman's subversion done in contempt of his own audience, his social/artistic aspirations, or because he earnestly thought that his body of work was funny, and he was interested in pursuing that, much to the chagrin of his audience and contemporaries? Kaufman was someone who pursued his own interests during his youth -- ranging from playing the bongos earnestly, to writing poetry and completing an unpublished novel at sixteen years of age. This depiction is done by yet another staunch individual: Jim Carrey, a complex and nuanced take that leaves you with even more questions about Kaufman's life, his public and private persona, and his overall legacy. The "peek behind the camera" moments during this film are some of its most captivating. This is all heightened by Paul Giamatti's excellent depiction of Bob Zmuda, Andy's manager (who may, or may not have played Tony Clifton in this film as well). Perhaps Carrey's depiction of Kaufman is further complicated due to Kaufman's own fascination between blurring the lines between reality and fiction. This especially becomes clear during his first forays into wrestling. Kaufman was interested in Kayfabe, and the “heel vs. face” aspects of the "sport." Kayfabe is essentially reality as it is depicted in the wrestling world. Playing against the popular women’s liberation movement during the mid to late seventies, Kaufman would wrestle “amateur” women: consisting of his sometimes girlfriend and other actresses, and ultimately, as they lost, he declared himself the intergender wrestling champion of the world. As Kaufman worked the crowd in this element, it largely consisted of him being a heel and getting a rise out of the viewers by any means necessary; which was often telling women where their place should be… in the kitchen. As it often goes, the line between Kayfabe and reality got extremely blurred as Kaufman encountered Jerry the King Lawler in the Continental Wrestling Association based in Memphis, TN. Lawler took issue with Kaufman, and everything he was saying about women, and it ultimately led to a match where Lawler gave Kaufman a piledriver, injuring his neck. Lawler only revealed after Man on the Moon premiered that the entire fight and preceding confrontation on David Letterman’s tonight show, was a work (i.e. a Kayfabe story only). In real life, Lawler and Kaufman were good friends. To further complicate things, Jim & Andy, which came out in 2017, with footage shot by Bob Zmuda, Lawler went on to talk about how Andy was nothing but an utmost professional and a gentleman who always addressed him formally. Considering Zmuda compiled all of the behind the scenes of Man on the Moon with Jim Carrey’s blessing, it’s easy to take this with a grain of salt. Not only does Lawler state that Kaufman was nothing but a consummate professional, Danny Devito says the exact same thing. This begs the question, what does it benefit to be an asshole to the public that loves you, but in private, be nothing but a carefully measured gentleman? Every chance that Kaufman could get, he was condescending and demeaning to his public audience. In Man on the Moon , perhaps Carey depicts this even more so than Kaufman originally intended (specifically, when Kaufman went on Letterman for his now infamous Great Gatsby reading, as you watch the original footage it seems as though that was his only intent). Compared to the scene in the film where Carrey depicts Kaufman as having a different, original ambition, and only after hearing someone provokingly yell to “Do Latka!” does he go backstage and grab the book from Zmuda. After a long stretch of reading, he then goes back to say, (as the foreign man) “Thank you very much!” to a smattering of applause. Finally, after another breath, he continues on, reading Gatsby in his “true” affected British accent. For the entire duration of this film, Carrey was unsurprisingly method acting (aka being an asshole to everyone onset). To be clear, Carrey “meditated for awhile, until Andy took over,” although I'm still calling that method acting. It is rather bizarre to see this depicted in Jim & Andy. He dramatically changes everything about his demeanor when he depicts Andy, or Tony Clifton. His depictions makes you wonder: at what point was Andy Kaufman method acting as Clifton, or as his public persona? Is it possible that the entirety of Andy Kaufman in the limelight was a method acting performance? Carrey (and Zmuda’s video account) goes on to give a little insight into the process of filming for other people around him. This ranges from Milos Foreman trying to coax Jim out of his Tony and Andy depictions, to getting into in-character fights as Kaufman with the actors who depicted Kaufman’s family as well. As you can imagine, as he turns into Clifton, it gets much more heated and disrupted. Carrey went on all night binge-drinking and smoking benders (even though he never smoked), when he was preparing to play Clifton the following day. In some truly surreal moments of that footage, there are multiple people that ask Carrey (as Clifton) what he thinks of Jim Carrey. Clifton’s response could easily be construed as desperately trying to get attention, but if that’s not the case; the answer is extremely sad. Clifton easily writes off Carrey as someone who has spent his whole life trying to have everyone around him like him, to cover up how disappointed he is in himself (paraphrased slightly). As the film winds down, it covers Kaufman’s early, untimely death. There is not a lot of time spent dwelling on this, as he quickly dies of cancer. In the film, Kaufman is projected at the funeral where he encourages everyone to sing along and smile. It’s a beautiful and extremely memorable moment; but on all accounts, it’s merely Hollywood magic. In spite of the questioning of it, Kaufman is in fact dead; he had a small, private funeral. It is a lovely way to end the movie on a high note, in memoriam of an extremely difficult, yet potentially sweet comedian. As much as I love this movie, I do understand that it is a piece done to show him in a better light, but the only part in the movie where this does happen is the funeral. There was no behind the camera moments where he came off as a sweet, caring and thoughtful man. Carrey’s depiction only has him attempting to get a rise out of anyone he encountered. However, based off the recent documentary, it becomes clear that at least according to DeVito and Lawler, he was a sweet and thoughtful person. This becomes extremely curious that for a biopic, why wouldn’t he be depicted more positively? Do I still love the misunderstood, fascinating capital “A” Artist, that had his singular albeit contrarian uncompromised vision of what entertainment was to him? Or, do I see through that, and can I understand and accept that he was simply an asshole, like most of the artists I admire? I think at this point in my life, I can understand being funny, and I can also understand that you can accomplish humor without being an asshole. I’m at least going to try it dammit! Jordan Young Jordan graduated in 2009 from Susquehanna University with a degree in Creative Writing and Film Studies where he met his wife. In spite of God's will, he published his first book PESTS with Lloyd Kaufman; the CEO of the independent stalwart Troma Entertainment. You can see him being snarky and cynical on Twitter and Instagram @settlingstatic , and you can find him being deeply, deeply nerdy on Reddit @SkywardJordan. #Newsletter #Articles #JimCarrey #ManontheMoon #JordanYoung #Comedy #AndyKaufman

Host Bernadette Gorman-White sits down with fellow comic/tv fans, Robby Anderson and Mike Burdge, to dive deep into what makes HBO's runaway hit adaptation really tick-tock tick-tock tick-tock. Listen on.... #Newsletter #Podcasts #HBO #CathodeRayCast #Watchmen #AlanMoore #DamonLindelof #BernadetteGormanWhite #RobertAnderson #MikeBurdge

Mike Burdge sits down with guests, Diana DiMuro and Bernadette Gorman-White, to talk about both the 1994 and 2019 cinematic adaptations of the Louisa May Alcott classic, Little Women . They drink, as well as spill, that tea. Listen on.... #Newsletter #Podcasts #Overdrinkers #LittleWomen #MikeBurdge #DianaDiMuro #BernadetteGormanWhite #GretaGerwig

The Safdie Bros.' latest, Uncut Gems , is one helluva ride, and point of note on many Top Lists of 2019. Jack and Robby get together to talk it out. Listen on.... #Newsletter #Podcasts #HotTakes #AdamSandler #Safdie #Bros #UncutGems #RobertAnderson #JackKolodziejski

Bernadette Gorman-White, Diana DiMuro and Linda Codega present another 1999 movie retrospective comparative conversation on Alexander Payne's Election and Wes Anderson's Rushmore . Listen on.... #Newsletter #Podcasts #Rushmore #Election #XXX9 #LindaCodega #BernadetteGormanWhite #DianaDiMuro #TeachersPet #TeachersPet #WesAnderson #AlexanderPayne

The charmer-of-the-year has been slaying it critically and commercially, and the future looks bright for award season acclaim. Jack and Robby discuss just what makes this unique who-dunnit from writer/director, Rian Johnson, really tick. Listen on.... #Newsletter #Podcasts #KnivesOut #HotTakes #RianJohnson #JackKolodziejski #RobertAnderson #Donut

Jack and Robby tackle the behemoth on everybody's to watch list, Netflix and Martin Scorsese's, The Irishman . Listen on.... #Newsletter #Podcasts #JackKolodziejski #RobertAnderson #Netflix #HotTakes #MartinScorsese #CGI #Long #TheIrishman

When I watched the first season of BoJack Horseman , I was very prepared to dislike it. It was five years ago; I was a screenwriting major at a liberal arts college, and I was learning the techniques of film and story structure. Back then, I was doing what most students in this setting do: use their newfound knowledge for pretentious evil. I’m a big fan of animation, infamously so, but I judged BoJack like a book by its cover. It seemed a little too Family Guy, but not enough “golden age of The Simpsons , seasons 3.5 through 10." My standards were strangely specific standards for judging a show about talking animals. I didn’t enjoy the first season of BoJack , it tried too hard for my taste, trying to comment on the narcissism of Hollywood through a narcissistic lens. When season two of BoJack came around, I was at a different point in my life. I had graduated from college, and I was trying to navigate the hazy labyrinth that is “the film industry.” And I became stuck. In a lot of ways, I still consider myself stuck in that foggy post-undergrad maze. It was a humbling experience that made watching and judging other’s work a different experience. Realizing the difficulty of “making it” in the industry gave me a lot of respect for those already in it. It started to become a lot more enjoyable for me to identify what was ‘working’ in a show than to attempt to put on blast what wasn’t. What I’m trying to say is: I was wrong, and I realized that after watching season two of BoJack . BoJack has always been a great show, but I only started to really see that once I took off my pretentious art school glasses (thick rimmed Ray Bans) and became a little less narcissistic. Although I still think it’s during the second season when the show really starts to hit some of the more nuanced and complex notes it’s now known for, it was such a good experience, that I had to watch that first season again, and of course, I loved it. Now it’s five years later, and to quote that Paul Rudd Hot Ones meme that hopefully isn’t already outdated: “Hey, hey look at us? Who woulda thought? Not me.” Over the course of its five seasons, BoJack Horseman has remained consistent in its hilarious gags, expert wordplay and poignant commentary, all at home in its zany, colorful world that isn’t all that different from our own. For a show with so many wacky characters (with insane pet names like Mister Peanutbutter, Princess Carolyn and Todd) all of our major players have arcs, show growth, and have become more complex, than some of television’s dramas starring non-animated characters named John or whatever. It’s sad to see BoJack come to an end, but it’s always better to see a series end by its own design, rather than watch it suffer a long life it wasn’t meant for. This first part of the series finale is purposeful and it frustratingly ends with a cliffhanger, but for now, we have eight amazing episodes to dive into. PREVIOUSLY ON BOJACK HORSEMAN … When we last left BoJack at the end of season five he had seemingly hit rock bottom. Then he fell down into whatever happens after rock bottom. The show has never portrayed BoJack as a “good guy” per se, but more of a guy who wants to be better, his main obstacle being himself. When we meet him in season one he’s a narcissist: he hates himself as much as he’s obsessed with himself. In season five, we see cracks in his liquor-stained armor; we see someone who wants to change. As the series has progressed, it has attempted to explain the “why” of BoJack’s actions. We learn about the history of his hit 90’s television show, “Horsin Around,” and more about his childhood: how he was born from a loveless union, that soon turned abusive. Beyond that, we also learn about BoJack’s mother and her traumas growing up. Sometimes our flaws and neurosis run generations deep. However, the “why’s” of BoJack’s flaws, do not excuse the “what” of his actions. By the end of season five, BoJack seems irredeemable. There’s not enough booze and pills to suppress the pain of his childhood, or his regrettable actions that usually culminate in season finales. The act of suppression leads BoJack to one of his most extreme lows, attacking his co-star/lover, Gina, in a drug-fueled-dissociative-state when he is unable to separate himself from his character, Philbert, (a brooding detective that’s mostly a parody of method acting and HBO’s, True Detective . Gina continues to go on press tours and junkets with BoJack, and though a dazed but slightly less drug-fueled BoJack wants to confess his terrible actions to the world, Gina stops him, not wanting her career to be tarnished by scandal. BoJack was starting to resemble someone who in our current culture would definitely be “canceled,” shunned from the public eye and cultural mindshare, only to be spoken of when their terrible deeds arise topically. This of course is done by design, perhaps because the writers and showrunners started to realize that their lovable asshole should be held more accountable. It was interesting to see the conversation on social media post season five - folks who aligned with the #metoo movement, survivors of assault - judging a cartoon horse like he was human, all because his actions triggered and hurt fans of the show. This caused the audience to desire what real life assaulters and canceled celebrities often never receive: consequences for their actions. I almost thought the showrunners would do season six without BoJack, characters could talk about him being in rehab, but couldn’t bring themselves to forgive him. Although I’m glad BoJack is here, (not because I necessarily would forgive a real life version of a person who has done the things he’s done) but because we never get to see the exploration of what the recovery process of someone like this is like, and if they can change, can we the audience voyeuristically be there for that journey, and bring ourselves to accept those changes? CIGARETTE BURNS IN FORGOTTEN MEMORIES We begin season six in Pastiches Malibu, the rehab center that BoJack checks into at the end of season five. The episode quickly tries to hone in on what leads BoJack to substance abuse. The idea of “deflection” is introduced by BoJack’s counselor, Doctor Champ. We’ve seen BoJack do this a million times throughout the series: use jokes or point out someone else’s flaws to cover up his own. BoJack has never been called out on this specific behavior directly. These “deflections” are revealed to simultaneously turn negative focus away from BoJack, while also keeping him in the spotlight. The episode serves as a stroll down memory lane as we work our way backwards through pivotal moments in BoJack’s life that all involve alcohol. These events usually lead to some kind of short term success for him, but ultimately show the worst sides of him. Therapy attempts to unearth these suppressed memories, vignettes that are burned away as if cigarettes were put out on them. We see BoJack offered a drink on the set of “Horsin Around,” leading to a more natural performance. We go back even further and witness BoJack at a high school party as he slams a beer and starts making fun of his other classmates. This mean humor leads mostly to cheers, but also pushes away the people who actually care about him. Further back, we see BoJack stumble into his father’s office, only to witness his dad having an affair with his secretary. BoJack’s father gives him a “Jack and Coke” to help him forget what he saw. Then we go even further back to observe BoJack’s parents, passed out on the couch during BoJack’s birthday, where he couldn’t be any older than five or six. It is at this time that he sips some vodka out of a bottle that’s just lying around. Is that even his first drink? Or is that the earliest suppressed memory his now sober mind could uncover? The show is beginning to plant the seeds of making its case for BoJack, trying to garner our sympathy for him again. These memories show another side of BoJack’s addiction, presenting the cause instead of the symptoms. Here we learn that his relationship with drinking wasn’t always about forgetting; some of his earliest drinks were forced upon him. That being said, the series creator’s cannot just show what led him down this path, they have to display how and if he can grow and change. A CROSSOVER EPISODE?! I mentioned before that I wasn’t sure if BoJack’s friends would stay with him along this journey to recovery. He’s spent most of the series pushing away the people who are close to him, apologizing, then doing it all over again. Todd, Princess Carolyn, and Diane are all characters that have been screwed over by BoJack in one form or another. Most examples have them getting burned for even trying to help the guy. I shouldn’t have been surprised though when these eight episodes showed that BoJack’s friends were here for him, and they loved him despite what he had done. It’s more realistic this way, if you’ve ever had a friend or loved one who struggled with substance abuse, you know that you often try to help because the sober person in there is trapped, and abandoning the person who’s struggling means you’re also abandoning the person who’s suffering. It was refreshing to see scenes of BoJack talking to these other characters calmly, listening and even offering sound advice in contrast to scheming or trying to hurt their feelings. Again, to quote the Paul Rudd Hot Ones meme that I really hope isn’t outdated by now: “Hey, hey look at us? Who would’ve thought? Not me.” In this season it’s not BoJack who needs the help and validation of his friends, it’s his friends who need the help and validation of BoJack. One of BoJack’s most complex relationships is his friendship with Diane, who is the catalyst for him going to rehab. In this season, Diane moves to Chicago with her new boyfriend, Guy, and attempts to start a new book. Her writer's block leads to other bad habits that hit very close to home for this writer (sometimes you need to smoke a pack of cigarettes or eat a whole pizza to get the creative juices going). Diane admits to struggling with depression, and she is reluctant to take antidepressants for fear of their side effects. Our newly rehabilitated BoJack is able to offer advice and listen to Diane, something that feels so alien for the character that it’s also refreshing. Before he leaves her apartment, he cleans up her depression-riddled living room, proving that contrary to popular belief, not everything BoJack Horseman touches turns to shit. In this same episode the showrunners start laying the groundwork for the end of the series. BoJack makes amends with his ex-hair stylist, Sharona, and she gives him one final cut, revealing that BoJack’s black main is actually a gray one. Old man BoJack goes on a journey to visit his loved ones. He helps Todd with his Asexual dating app by getting him a date. He gifts Princess Carolyn an old painting from his house. He even runs into Mr. Peanutbutter at a museum that is displaying props and sets from their respective 90’s TV shows, and gives him the crossover episode he’s always wanted. BoJack then visits his estranged sister, Hollyhock, at her college in Connecticut, and there he learns her school is looking for an acting professor. The penultimate episode of this season ends with BoJack, seemingly making amends with his closest loved ones, heading to Connecticut to start the new and final chapter of his life. It’s during the final episode that we learn that his past may not be entirely behind him, and the ripples of his self- destructive ways have consequences for more than just the core cast. WHAT HAPPENED IN NEW MEXICO? There’s an exchange of dialogue between character actress Margo Martindale and a nun at the beginning of episode eight: MARGO MARTINDALE: I find myself consumed by thoughts of my past. NUN : You have no past. You’ve confessed. Your sins have been washed clean. This is like day one stuff, what are we talking about here? MARGO MARTINDALE: The people I’ve hurt, the lives I’ve ruined, are they washed clean as well? The two discuss solipsism: the view or theory that the self is all that can be known to exist. The Nun mentions how that does “little for a woman of the cloth,” a position Margo Martindale now finds herself in. MARGO MARTINDALE: Is it solipsism to be concerned with the fates of others? Perhaps one could argue cloistering oneself from the world is a form of solipsism. This is followed by Margo fleeing the church in a red sports car, leaving her exile far behind. This exchange of dialogue mirrors what’s been happening in the sixth season so far: BoJack’s arc over these seven episodes are about him trying to become clean and finding some kind of redemption. In this season, he has shown signs of growth and change for the better. He has made amends with some of his closest friends, and he has even made strides to benefit their lives. With the focus on BoJack, we forget about some of the other characters he has interacted with over the years. This season goes to great lengths to show us a BoJack who is genuinely on a path towards becoming a better person, one who is no longer self-loathing, but instead starting to forgive himself. Despite the fact that BoJack may be doing better, his past remains ugly, and it is trailing quickly behind him. Two fast talking journalists, Paige Sinclair and Maximillion Banks, are hot on the potential scoop of the century: who was present for Sarah Lynn’s overdose; who gave her that heroin? There’s more to this story and these two journalists are hellbent on finding out. The entire episode serves as a reminder of the people BoJack hurt that he did not go to great lengths to apologize to. Kelsey Jennings, the former director of the Secretariat film staring BoJack, was fired from the film when the crew broke into the Nixon library. She’s been in “Director jail” ever since, and only now is she starting to navigate her career out of it. We catch up with Gina Cazador, the co-star BoJack strangled on the set of Philburt. She’s on the set of a different project, number one on the call sheet, her career is moving forward, but she herself is stunted by the incident with BoJack. It’s clear she has PTSD; she has apprehension towards stunts with male costars, and because she continues to repress this incident, her director finds her difficult to work with. Kelsey Jenning’s becomes the director of a new superhero flick with a female lead. She asks Gina’s current director if she’d be a good pick for the role, and he tells her no. He finds her difficult to work with and is unsure why. The episode ends with Hollyhock, BoJack’s sister, going to a party with her friends in New York City. Far from anyone she knows, she’s eager to get to the party and start drinking. Hollyhock is less afraid of “losing control” when she’s drinking, she’ll only be judged by strangers. She’s rightfully cautious however, since alcoholism certainly runs in her family, but she doesn’t want to close the door on something so many other people enjoy. When she finally arrives at the party, she has a panic attack and is helped out by a boy named Peter. Peter, who viewers may remember as Pete Repeat, tells a story about a celebrity from his hometown in New Mexico, that essentially recounts the events of the season two finale: one of BoJack’s biggest and most controversial moments on the show. This episode ends just as Peter is about to tell Hollyhock the identity of the celebrity, an older man who went to prom as Penny’s date, who forced him and his friends to drink bourbon, and then left them all at the ER while his girlfriend had alcohol poisoning. It’s quite the cliffhanger and purposefully undermines the progress BoJack has made this season. I’M MORE HORSE THAN A MAN Redemption is a road that is becoming less and less clear nowadays. Just as BoJack’s showrunners try to make you understand rather than forgive BoJack, I’m too, do not wish to sway sides in the culture war. Personally, I think a lot of “cancelled” celebrities should stay cancelled, or in other cases, go to fucking jail. If my only knowledge of BoJack was as a famous actor who did a bunch of terrible stuff behind the scenes, had a major drug problem, and went to rehab, then I would probably cast him out from my own mind. He’s too controversial a celebrity to give so much attention. Seeing the “why’s” and the “how’s” of his problems, even the ones predating BoJack’s own birth, does help shape our opinion of him. If we knew more “how’s” and “why’s” of the people we judge and cast out from the cultural mind, would we find easier avenues to forgive them? I’m not sure how the final eight episodes of BoJack are going to shake out, but I don’t think the showrunners are going to try and convince us to forgive BoJack. I’ll be back with more opinions in January, and surely, many, many emotions. Robert Anderson Co-Head of Podcasting Robert has a degree in Screenwriting and Playwriting and works in multiple genres. He's just your typical man-child who enjoys most things nerd culture. You can follow him on Twitter and Instagram @RoBaeBae #Newsletter #Reviews #RobertAnderson #BoJackHorseman #Netflix #Animation