Bojack Horseman — Where Form Dictates Function

I was watching an interview with Bojack Horseman creator Raphael Bob-Waksberg the other day, and he said something that really interested me.

While discussing how ideas for various inventive Bojack Horseman episodes came along, he noted how the writer’s room strives to “present it in such a way that the format was justified by the function.”

(HEAVY Spoilers for Bojack Horseman follow…)

He goes on to discuss how the writer’s room would effectively build the entire plot of episodes around specific ideas that play with form. For example- the death of Bojack’s mother apparently came about because the writer’s room, as Bob-Waksberg notes, “had an idea to do a long monologue, and then were thinking about ‘well, what would justify spending that much episode time with just one person talking?’ and that’s how we decided to do this funeral for his mother.”

This fascinates me, especially considering it’s coming from a show as character-focused as Bojack Horseman. When your incentive for telling a story lies in how it is told over what is being told, you can assume you’re both narrowing your audience and forfeiting an appreciation of character.

But, if you’ve ever watched an episode of Bojack Horseman, you know that’s not the case. The inventive episodes don’t feel like gimmicks, but rather, feel wonderfully tied to the world and it’s characters. In hopes to figure out how this “form before function” process works, I’ll be breaking down some of Bojack Horseman’s standout episodes, and analyze how they take an intriguing story format and fill it with genuine heart.

Fish Out Of Water (Season 3, Episode 4)

Episode Idea (Form): An episode where no character is able to speak.

Episode Plot (Function): Bojack goes to an underwater film festival where he sees Kelsey Jannings, his former director who got fired because of him. He wants to apologize to her, but can’t… he’s not able to speak underwater.

How The Function Justifies The Form: Bojack needs to realize, through this episode, that it takes more than one act of unselfishness in order to be a “good person”. By taking away his ability to speak, it prevents Bojack from giving Kelsey a half-assed apology. Rather, he now must prove to her that he’s sorry through his actions.

Let’s Find Out (Season 2, Episode 8)

Episode Idea (Form): An episode that takes place on the set of a game show.

Episode Plot (Function): Bojack is a guest on Mr. Peanutbutter’s new game show. The pair begin to bicker on-air, leading to a variety of private details being espoused for the audience.

How The Function Justifies The Form: We haven’t had any real confrontation between Bojack and Mr. Peanutbutter up to this point, and in this episode, we get to see exactly how both contrast. The fact that their conflict is on a game show serves as an apt metaphor for the sense of competition and inferiority Bojack has felt in regards to Mr. Peanutbutter.

Ruthie (Season 4, Episode 9)

Episode Idea (Form): An episode narrated by someone from the far-future.

Episode Plot (Function): Princess Caroline’s great-great-granddaughter tells the story of Princess Caroline’s worst day ever, where she has a miscarriage and promptly ruins her own relationship. The episode ends with the reveal that the great-great-granddaughter is actually just part of Princess Caroline’s imagination.

How The Function Justifies The Form: By telling the episode from the perspective of Princess Caroline’s descendant, we’re meant to believe that, despite the otherwise painful events of the plot, everything will work itself out. Thus, our defenses are down when it’s revealed that the descendant doesn’t exist- there is no happy ending in sight. It’s one of the hardest punches to the gut the show has ever performed, and it couldn’t have happened without the show’s focus on tying together plot and device.

Mr. Peanutbutter’s Boos (Season 5, Episode 8)

Episode Idea: An episode that takes place during the Halloweens through the years.

Episode Plot: In each “era”, we witness Mr. Peanutbutter and his girlfriend at the time get into a massive fight that promptly ends the party. It culminates with him and his current girlfriend, Pickles, finding reconciliation.

How The Function Justifies The Form: By having the episode take place across four different eras, we’re able to see the exact pattern regarding how Mr. Peanutbutter ruins his relationships. This better develops Mr. Peanutbutter as a genuinely flawed character, and similarly gives us more insight into how the cast as a whole has changed through the years.

The View From Halfway Down (Season 6, Episode 15)

Episode Idea: Have Bojack reconnect with the various people in his life who’ve died.

Episode Plot: Bojack is in a dream-state as a result of his attempted suicide, and throughout the episode, is trying to find meaning amidst death and, similarly, return to his corporeal body.

How The Function Justifies The Form: The form forces Bojack to confront the people in the past who he’s wronged and, at the same time, debate whether or not he wants to continue living. This debate is able to physically manifest itself in the various characters surrounding him, all of whom have different opinions on what life and death mean. It’s a haunting, philosophically lofty episode that is plainly unforgettable thanks to it’s astounding combination of character and form.

So… What Does This All Mean?

This is a recurring theme I recognize when I discuss anything Bojack Horseman related, but… there is no single writing process that is “correct”. Every writer undergoes a different methodology when constructing stories, and every methodology is right in it’s own way. My (brief) examination of how Bojack Horseman comes up with story ideas is just one example of how one could come up with story, but it’s definitely not the only way to write a story.

Rather, there are a million and one ways to come up with story. What seems to recur in Bojack Horseman, as with many other great stories, however, is that the writing comes from a place of sincere interest. “What if we told a story without dialogue? What if we told a story from the future? What if we tell a story as a game show?” Each of these questions are an entry point for a creator into the story.

Entry points are, in my opinion, vital for any story you’re telling. To be clear, these aren’t entry points for the audience- they exist for you as a creator. They are the things that make you say “I want to write that.” This doesn’t always have to be some sort of lofty episode concept. It can be something as simple as a line of dialogue or a character tick. In my experience, the more entry points you have, the better.

It goes back to a question I’m often asking myself- why am I interested in this story? It’s a tough question that, at times, can feel impossible to answer. By giving yourself an entry point, as the writers of Bojack Horseman tend to do, you help guarantee for yourself that you’re invested in the story.