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How “Bojack Horseman” Offers A (Refreshingly) Balanced Take On Addiction

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People are complicated. Every person deals with their own set of complications. Some are more serious than others. A person who suffers from crippling addiction doesn’t face the same challenges as someone who has an extreme fear of clowns. Both require different approaches to deal with it and not every person is going to handle it the same way.

I suspect that most people would agree with everything I just stated. Most have probably endured their share of possible complications or dealt with someone who has. It’s one of those basic, but understated facts of life. However, when it comes to complicated problems like addiction and depression, popular media tends to do a lousy job of portraying those problems.

It’s not just that issues like addiction, drug abuse, or depression are overly simplified. The characters involved rarely reflect the complexities surrounding this issue. Look a most TV shows, movies, or books and you tend to get a stripped-down version of these issues. It usually plays out like this.

A character starts the story happy and healthy, but vulnerable and foolish.

Said character makes a few bad choices that triggers the problem.

That character goes through upheavals, losses, and setbacks.

The character hits rock bottom, realizes they have a problem, and decides to get help.

Whatever help they get magically works, the character’s issue is solved, and the credits roll to some upbeat song meant to sell the soundtrack.

I understand most people don’t expect the complex struggles of real people to be boiled down into a half-hour TV show or a two-hour movie. To some extent, these stories sell the fantasy that difficult problems have simple solutions. It’s comforting, but it can be dangerous to those who need help that doesn’t involve magical solutions that leave time for commercial breaks.

Very few TV shows or movies have the time to get into all the nuance surrounding these issues, especially for problems such as addiction. More than any other issue, TV and movies tend to get the nature of addiction very wrong. Addiction, itself, is already subject to all sorts of myths and misunderstandings. That’s even more troubling in the middle of a serious opioid epidemic.

For that very reason, it’s genuinely refreshing to see a popular TV show handle the subject in a more balanced manner. Even if that show involves anthropomorphic horse men that sound like Will Arnett, a little balance goes a long way, especially when dealing with real issues that impact real people.

That show, of course, is “Bojack Horseman.” It’s a show I’ve mentioned and praised before for how it confronts the myth of happy endings. It’s also a show that sets itself apart by lampooning and deconstructing the world of celebrities, happiness, politics, popular culture, and injustice. The fact the show can do this while also being funny, entertaining, and genuine is a testament to the show’s quality and brilliance.

I’ve been following this show since it aired. I’ve watched it grow through several seasons, following a unique path to acclaim and success. I was among those disappointed to hear that the show will be ending after Season 6. I don’t know if there will ever be another show that tackled so many sensitive issues in such a balanced way, but that makes it’s handling of addiction in Season 6 even more impressive.

Since the show’s first season, addiction has been both a common theme and a volatile catalyst. In fact, the very first scene of the first episode makes clear that Bojack has a drinking problem. It’s not subtle in the slightest. When he’s not melting down or mentally torturing himself, he’s drinking heavily or ingesting copious amounts of drugs.

Sometimes, he’s downright creative with drug use.

Throughout the course of the show, this has caused more than a few problems to say the least. People have died. Hearts of been broken. Souls have been crushed, regardless of whether you’re a man, woman, or horseman. These moments have helped give the show a level of dramatic impact that few others have matched.

It has also portrayed addiction with more tact, nuance, and understanding than any show I’ve seen to date. If you or anyone you know have dealt with addiction, then this show “Bojack Horseman” offers a compelling message that’s worth heeding.

Bojack’s addiction issues started off simple, but over the course of five seasons, it has become clear that there’s much more to his self-destructive behavior. It’s not just that he’s a celebrity and celebrities tend to get away with more than most, which the show touches on in some hilariously memorable moments. His life, his upbringing, and his choices have created a complex web of influences that fuel his addiction.

It’s not just that he’s depressed.

It’s not just that his parents were neglectful, hateful, and downright cruel.

It’s not just that he betrayed his best friend, who helped make him a success.

It’s not just that he slept with his best friend’s girlfriend.

There are many other gross misdeeds I could list. A lot happens over course of five seasons and it gets very dark. However, the show never attempts to pin Bojack’s problems with addiction on a singular cause. In Season 6, he attempts to finally confront those problems, but doing so doesn’t mean finding simple solutions. In fact, the solutions are prone to complications of their own.

The first three episodes of Season 6 has Bojack doing something important in the context of treating addiction. It has him look at his life, as a whole, and not just focus on the triggers that inspire his self-destructive behavior. Like addicts in the real world, Bojack learns that there’s no one thing that caused his problems. It’s not a single choice, either. Unlike the light-hearted show that made him famous, life is more complicated than that.

In some respects, drinking gave him the comfort and warmth that his parents never gave him. In others, it allowed him to overcome crippling social anxieties, which only got elevated when he became a celebrity. It wasn’t just that he was dependent on the alcohol to give him a quick dopamine hit to his brain. He came to rely on it, so much so that it incurred more and more complications.

Another part of what makes this portrayal feel balanced is that Bojack’s addictions are never framed as the sole source of his problems. Some of his most regrettable choices in the show happened without the aid of alcohol or drugs. He can’t use addiction as an excuse. Even though he tried to in earlier seasons, he’s not making those same excuses in Season 6.

It’s not a smooth process. Few plots in “Bojack Horseman” play out that way. Bojack struggles with his treatment, which is a novel concept for most shows that tackle the issue. Even when he’s not drinking, it still haunts him. That’s another thing addicts in TV shows rarely show. Once they get treatment, it becomes an afterthought. In real life, treating addiction is an ongoing struggle and always will be.

That’s a tough message for any show to depict, let alone one that needs to resolve things within 22 minutes or 26 episodes. On top of that, the act of not resolving serious issues, such as addiction, means the show can’t have a happy ending. That’s something most shows avoid, but “Bojack Horseman” is different.

On multiple occasions, the show points out how flawed the idea of happy endings are, often in depressing ways. At the same time, though, this is necessary context with which to frame addiction. For someone who has as many issues as Bojack, a happy ending just wouldn’t make sense.

It won’t end like this. It just won’t.

He can’t just come to a profound realization in the backdrop of sad music and suddenly be cured. His story and his struggles keep unfolding. Like real addiction, confronting and treating it is a complicated process that can often last a lifetime. It’s frustrating and depressing, but that’s the nature of life and “Bojack Horseman” doesn’t run from that.

With the second part of Season 6 scheduled for release in January, 2020, the end of “Bojack Horseman” is near. What this means for Bojack, his addiction, and the consequences of his choices remains to be seen. No matter how it ends, the show has achieved a great deal by daring to confront the complications of life that most avoid.

The fact this show can achieve this through a cartoon horse voiced by Will Arnett is an even greater accomplishment. While most people will never be able to relate to a half-man/half-horse former sitcom star, they might be able to relate to his struggles with addiction. Sometimes, being able to deal with things in a quirky, animated show helps make those things less daunting in the real world.

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The Flaw In Happy Endings According To “Bojack Horseman”

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The world can be a harsh, unforgiving place. The extent of that harshness often depends on circumstances, attitude, and even blind luck. Most people, no matter how rich or successful they are, learn that lesson at some point in their lives. It’s rarely pleasant and often leaves scars that don’t heal.

Even with those scars, many cling to a hopeful, wide-eyed idealism about how much better the world could be. Moreover, that world is worth pursuing at every turn. TV shows, movies, music, and literature convinces us that it can be done and still have plenty of room for commercials, ads, and movie trailers. Nearly every great narrative tries to sell us on some unique kind of world-healing happy ending.

Then, there’s the strange and exceedingly depressing world of “Bojack Horseman.” If ever there was a show that went out of its way to kill happy endings with the force of a billion gut punches, it’s this one. Think of all our most cherished ideals from popular media, social movements, and ideology, in general. “Bojack Horseman” finds a way to crush it all while still being funny, albeit in its own dark way.

I promise it’s funnier than you think.

I say that as someone who has watched “Bojack Horseman” since the first season, but I find myself appreciating its dark themes more and more lately. However, it’s not just because the harshness of the real world is a lot harder to hide in the era of the internet and social media.

Recently, I had a chance to re-watch the past couple seasons. In doing so, I noticed just how much our collective worldview is built around our hope for a happy ending. Almost every character on the show, from Bojack Horseman to Diane Nguyen to Princess Caroline to Mr. Peanutbutter, is driven to achieve some idealized ending for themselves.

For Diane, she seeks to become a successful writer who exacts meaningful change through her work.

For Princess Caroline, she seeks to be an accomplished, independent woman who has it all, both in terms of career and family.

For Mr. Peanutbutter, he seeks to make everyone around him happy and pursue every new project with wide-eyed passion.

For the titular character, Bojack Horseman, pursuing that ending is more complicated. Through him, the harshness of reality seems to hit everyone and everything he comes across. It’s not always through his actions, which are often selfish, reckless, and downright deplorable. His story, which helps drive the show from the beginning, reveals how pursuing idealism can leave us vulnerable at best and destroyed at worst.

To understand how the show does this, it’s necessary to understand what makes this show both unique and appealing. If you only watch the first few episodes, then “Bojack Horseman” doesn’t come off as all that deep. It just seems like a story about a narcissistic washed-up actor who happens to be an anthropomorphic horse in a world full of various human/animal hybrids.

After a while, though, you start to appreciate how Bojack reflects the ugly reality of self-centered celebrities. Whether they’re at the height of their popularity or have been out of work for years, they live in a world that basically requires them to be utterly self-absorbed and completely detached from reality. Living in that world tends to obscure what reality is and provides one too many mechanisms for escaping it.

In the show that made him famous, “Horsin’ Around,” everything was skewed. Every problem was solved within a half-hour. Everyone was happy by the end of the episode. Bojack seems at his happiest and most fulfilled when the cameras are rolling and the show is on. Behind the scenes, which is where most of the show takes place, the ugliness of his reality takes hold.

Without the show, that ugliness consumes him. Over time, it wears on him, causing him to seek that idealized ending that his show often espoused. Throughout multiple seasons, it leads him down many paths. At the same time, others like Diane, Princess Carolyn, and Todd Chavez attempt paths of their own.

From this foundation, any number of ideals can take hold. In Hollywood, or “Hollywoo” as it comes to be called in the show for hilarious reasons, an entire industry is built around telling stories or crafting media that either champion those ideals or distract people from reality. For someone like Bojack, who gets crushed by reality harder than most, it’s the worst place for him to be.

Bojack, and his colorful cast of supporting characters, either embrace or get sucked into this fanciful world. Throughout the show, they get put into positions where they can pursue their dreams, achieve what they think will make them happy, and even are allowed to succeed in some instance. If this were any other show, then that would be the happy ending that both the characters and the audience expect.

Bojack Horseman” is different in that it goes out of its way to expose the flaws in those idealized endings. The creator of the show, Raphael Bob-Waksberg, has even gone on record as saying that he doesn’t believe in “endings,” at least in the way that TV, movies, and popular media present it. In a 2015 interview, he said this about endings.

Well, I don’t believe in endings. I think you can fall in love and get married and you can have a wonderful wedding, but then you still have to wake up the next morning and you’re still you. Like, you can have the worst day of your life, but then the next day won’t be the worst day of your life. And I think it works in a positive and a negative, that all these things that happen are moments in time. And that because of the narrative we’ve experienced, we’ve kind of internalized this idea that we’re working toward some great ending, and that if we put all our ducks in a row we’ll be rewarded, and everything will finally make sense. But the answer is that everything doesn’t make sense, at least as far as I’ve found. Maybe you’ll interview someone else today who’s like “I’ve figured it out, here’s the answer!” But I don’t know the answer, and so I think it would be disingenuous to tell our audience “Here’s the answer!” It’s a struggle, and we’re all trying to figure it out, and these characters are trying to figure it out for themselves.

This sentiment plays out time and again over the course of the show. On more than one occasion, Bojack seems like he’s on the verge of achieving that happy ending and turning those ideals into reality.

He thinks getting cast in his dream role as Secretariat will give him that ending, but it doesn’t.

He thinks being nominated for an Oscar will give him that ending, but it doesn’t.

He thinks being cast in a new TV show will give him that ending, but that only makes things much worse.

At every turn, reality catches up to him. Whether it’s his many vices, his habitual selfishness, or his terrible choices, it always comes back to haunt him. Even when that happy ending seems achievable, it always becomes mired in complications that Bojack can’t always control. The same complications often impact other characters seeking their own happy endings, as well. For some, it ends up being downright tragic.

At times, the show paints a grim picture about even attempting to pursue a happy ending. Even when Bojack has insights into the process, it’s never as easy as his old TV show makes it out to be. However, the fact he and others around him keep pursuing that ending says a lot about everyone’s need to achieve something greater.

Even in a world without talking horsemen, that’s something a lot of people can relate to. Most of us build our lives around hopes and aspirations that we’ll forge our own happy ending. There may even be moments when we feel like we achieve it, whether it’s graduating high school, getting married, having children, or finally beating level 147 in Candy Crush.

However, even after those moments, the credits don’t roll. Things don’t end. The things that led you to that moment only work to the extent that they led you to that one singular moment. Life still continues and the happiness fades. Bojack experiences this at greater extremes, some of which are downright absurd, but people in the real world experience it too throughout their lives.

I can personally attest to this. When I finally finished high school, I thought that was like slaying the final boss in an impossibly hard video game. I felt the same way after graduating college, getting my first girlfriend, or publishing my first book. If the credits started rolling at that moment, it would’ve made for a great ending.

Unfortunately, life just doesn’t work like that. “Bojack Horseman” belabors that every chance it gets while still managing to inject some meaningful comedy along the way. It’s a lesson worth learning, especially for Bojack. It’s one he’ll probably keep learning in future seasons. Chances are, we’ll all learn with him along the way.

In many respects, the one who best summed up this sentiment isn’t Bojack himself. In Season 3, it’s Diane who lays out the harsh reality that everyone in the real and fictional world struggles to accept.

“It’s not about being happy, that is the thing. I’m just trying to get through each day. I can’t keep asking myself ‘Am I happy?’ It just makes me more miserable. I don’t know If I believe in it, real lasting happiness. All those perky, well-adjusted people you see in movies and TV shows? I don’t think they exist.”

It sounds depressing, but that’s par for the course with “Bojack Horseman.” Reality is often depressing, but it’s not utterly untenable because happy endings are impossible. There are many points in the show that try to make that case. Even Bojack himself tries to make that case, albeit in his own twisted way.

I would even argue that the show’s brutal attack on the very concept of idealized happy endings is uplifting, in and of itself. By making the case that all the happy endings we see in the idealized versions of fiction are flawed, it shows how futile and counterproductive it is to pursue them. The real world is harsh and brutal, but you can find moments of happiness along the way. They’re not endings. They’re just part of life.

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How “The Society” Humanizes Teenagers In A Refreshing (And Overdue) Way

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As someone who hasn’t been a teenager for many years, I admit I have some unflattering perceptions of that demographic. Ask anyone over the age of 30 what they think of teenagers today and chances are you’ll hear more than a few complaints.

They’re too obsessed with their phones.

They’re too emotionally fragile and prone to outrage.

They’re too entitled, coddled, and sheltered from the real world.

You’ve probably heard those rants before and not just from Fox News. With those stereotypes in mind, imagine what would happen if a large collection of teenagers were left unsupervised and isolated in a large area for long stretches of time. What do you think would happen? How do you see that playing out?

Something like this, probably.

I don’t deny that I’d make some unflattering assumptions such a scenario. I would fully expect that they act erratically and irresponsibly. I would also expect for them to falter emotionally if left alone for too long. Having lived their whole lives within some system of authority and supervision, I wouldn’t expect them to function for very long on their own.

It’s those very assumptions that that “The Society,” a very binge-worthy Netflix show, dares to challenge. This thriller/mystery/drama is one of those shows that has all the right ingredients to play up every tired trope that teen-centered television show has explored for years. That was certainly what I expected when I discovered the show. I freely admit that those expectations were wrong.

The premise of “The Society” is built around a strange mystery that “Lost” fans should appreciate. One day, a large contingent of high school students get on a bus and leave the affluent New England town of West Ham for a 10-day camping trip. For reasons not yet revealed, the buses turn around and drop them off exactly where they picked them up.

Upon returning, these teenagers find out that all the adults in their town are gone. Near as they can tell, everyone just picked up and left. To further compound the mystery, they find out that all the paths leading out of the town have become dead ends. There are no neighboring towns to visit. As far as they know, there’s nothing but endless forests in every direction.

It’s genuine mystery with distressing implications. While the specifics are only partially explored in the first season, the mystery is only part of what makes the “The Society” such a compelling show. It doesn’t just put a bunch of hormonal, irrational teenagers in an enclosed area and let the drama tell the story. The show dares to humanize teenagers in a way that is exceedingly rare in a TV show.

By that, I’m not just referring to a handful of character that are well-developed and fleshed out. While there are certainly plenty of those in this show, it approaches how teenagers conduct themselves with more balance and nuance. It even makes the case that, in dire situations, they can come together and cooperate as well as full-fledged adults.

In the beginning, that’s not immediately apparent. When they all return to West Ham and find out the adults are gone, they react the way most would expect of decadent, hormonal teenagers if they were left unsupervised all night. However, the extent of their decadence never goes beyond a certain point.

To a point, being the key term.

Sure, many drink, they dance, and they hook up. A few just go home and turn in for the night, thinking nothing is amiss. They don’t do anything too outrageous, though. In essence, they conduct themselves the same way most single adults would if they knew there were no police or authority figures to stop them.

After that first night, though, things start getting serious. These teenagers, who still come off as kids in the first few episodes, realizes that something has gone very wrong. Their parents are gone. The adults are gone. Their entire town is completely cut off. They have no connection to the world beyond their town. They have a finite supply of food and little experience in terms of governing themselves.

It’s a scary situation. Some handle it better than others, but a few start to crack under the pressure. For some, especially Campbell Eliot and Lexie, the situation reveals sides of their personality that probably wouldn’t have otherwise emerged. That tends to happen with most people in extreme circumstances, but being a teenager tends to raise the stakes even more.

The fun and games quickly end. People start getting hurt. There are even a few deaths, which has a significant impact on everyone in the town. It sends a clear, unambiguous message. This isn’t just about hanging in there until their parents find them. They have to survive and they can’t do that unless they work together.

On paper, it sounds like it can only end in disaster and it certainly comes close, especially towards the end of the first season. Again, these are teenagers. Most people don’t expect them to function beyond a certain point. While “The Society” doesn’t strip away everything in the mold of “Lord of the Flies,” it removes enough to make the situation dire.

They still have electricity, running water, and shelter. However, their food supply is finite and there’s a distressing lack of expertise in everything from basic medical care to fixing a car. In order to survive, they must create a system of governance to keep the peace. If they don’t, then everybody suffers.

This is where “The Society” really shines, both as a story and as a concept. It’s also where it explores how teenagers, despite their maturity and lack of experience, can come together when they have to. They’re not perfect, but neither are experienced adults. They do find themselves in painful, heart-wrenching situations that include murder, illness, and despair. However, things never totally fall apart.

To anyone who has ever tried to explain student loan debt to a teenager, it almost seems absurd. The idea that a bunch of unsupervised teenagers can somehow form a functioning society just doesn’t fit with the common narrative surrounding teenagers.

In that narrative, things always tend to devolve until the adults return to impart the proper amount of discipline. Look at any movie, sitcom, or rowdy music video and the themes often come back to teenagers being out of control and needing the discipline of responsible adults. “The Society” makes the case that teenagers can become responsible on their own, albeit after some setbacks.

There are still many factors working against them. We’ve yet to see what happens to the citizens of New Ham, as they dubbed it, when the food runs out and they have to start farming the land. We also haven’t seen them endure a harsh New England winter. However, “The Society” never gives the impression that these young people are incapable of overcoming these challenges.

By the end of the first season, it’s easy to root for them. The emotional toll is palpable and so are the difficult decisions that many end up facing. Over the course of the show, however, it’s easy to see the progression that they all experience. It’s hard to even see them as teenagers anymore. Some conduct themselves as true, full-fledged adults.

While the mystery surrounding “The Society” is still unfolding, complete with fan theories and potential clues, the show’s approach to depicting teenagers is its greatest accomplishment in my opinion. If there is a second season, I’m definitely interested in seeing how these characters and their over-arching story progresses.

I doubt “The Society” will change anyone’s current attitudes of teenagers. There will surely be other shows and movies that double down on the many stereotypes surrounding them. If nothing else, “The Society” shows that teenagers are capable of carrying a story without adults complaining about them.

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Good People, Corruption, And Politics According To “Designated Survivor”

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Politics is a dirty, cut-throat world that often requires good people to compromise principles, integrity, and basic human decency. Most people wouldn’t argue that. Even before the internet, the corruption that often goes hand-in-hand with politics was well-documented. That corruption has only become more visible in recent years. It’s hard to go more than a week without seeing a fresh case of shady political conduct.

However, instead of dwelling on how ugly politics can get in the age of social media and outrage culture, I’d like to scrutinize the nature of that corruption. I don’t doubt the ugliness or absurdities that politics often breeds, but it also poses some interesting question.

Do politics naturally corrupt the people who get involved?

Is corruption in politics unavoidable?

Do politics only attract corrupt individuals?

Is it possible to get anything done in politics without some amount of corruption?

These are not easy questions to answer. You don’t have to look hard to find corrupt politicians or uncover cases where politics undermined efforts to pursue a public good. However, the extent and the process of that corruption is sometimes difficult to understand. Those of us not involved in politics have a hard time imagining how ordinary people could become so callous.

That’s why a show like “Designated Survivor” is so uniquely compelling. Even as a work of fiction, this show explores the complex world of politics within the most extreme of circumstances. There’s political drama, intense action, and ongoing mysteries that go beyond politics, but the latest season of the show accomplished something unique in terms of how people become corrupt.

The premise of the show starts simple. Tom Kirkman, played by Keifer Sutherland, works at the White House as a fairly low-level department head as the Secretary of Housing and Urban Development. In terms of rank and influence, his authority is barely above that of a typical intern.

Then, prior to the annual State of the Union Speech, he gets picked for the unenviable role of designated survivor, which is a real thing. It’s a role meant to keep the government going in the worst of worst-case scenarios when there’s a catastrophic attack that kills the President, Congress, and much of the government. In the pilot episode, that’s exactly what happens.

Suddenly, this man who has never run for political office or served as an elected official is thrust into the role of President of the United States and after the worst attack in the history of the country. It’s overwhelming, to say the least. It makes for great TV drama, but it also creates a unique experiment in what power and politics do to an otherwise ordinary person.

Before Kirkman is thrust into this role, it’s established early on that he’s somewhat of an idealist. He identifies as an independent who is genuinely concerned with using the political process to pursue a public good. He also demonstrates early on that he has a strict understanding of right and wrong. For him, there’s no compromise or second-guessing when it comes to ethics.

On paper, he has the kind of character and ethics that most people want in a politician. Even the dire circumstances of his ascension are favorable because he never had to raise money from billionaires to finance his campaign. He doesn’t even have to make shady deals or back-stab anyone, which is also an all-too-common tactic in politics.

In a sense, Tom Kirkman comes into this position of power free of corruption. He is in a position where he can govern with his principles and ideals intact. This isn’t “Mr. Smith Goes To Washington.” This is Mr. Smith gaining unprecedented power without having to go through the corrupt process.

Throughout the first and second season of the show, Kirkman tries to do his job with his ideals intact. Whether it’s tracking down who blew up the Capitol or preventing an all-out war in East Asia, he has to constantly render difficult and weighty decisions that test his ability to keep being that affable man from the first episode.

For the most part, he succeeds on many fronts. The conflicts throughout the show often followed a common formula. President Kirkman faces a difficult issue. One side urges him to make one risky, politically-motivated decision. The other side urges something else that’s just as risky and just as political. Kirkman, unwilling to compromise his laurels, has to forge a third option.

Time and again, the integrity of his character shows. By the end of the second season, the extent of that integrity is beyond dispute. Then, the third season arrives, via Netflix, and everything changes and not just due to the sudden increase in profanity.

This season, unlike the previous two, cast aside the formula of the first two seasons, but not without reason. The entire third season is built around Kirkman running for re-election as an independent. At this point, all the good he did with respect to rebuilding the government after a devastating attack is a distant memory. It’s all politics now and this is where his integrity is pushed to the limit.

Almost immediately, Kirkman discovers that just being a man of integrity isn’t enough. The first episode of the third season really sets the tone, highlighting how easy it is for his ideals to get lost in the politics of an election. Just saying what’s true and right isn’t enough. It has to resonate with voters. That’s the only criterion that counts for anything.

His primary opponent in this season is Cornelius Moss. In the second season, he was an ally. He came in as a former president who knew the rigors of the job better than most. He was also an experienced politician. He had experienced the corrupt world of politics and he had successfully navigated it. As a result, he never comes off as having the kind of integrity and principles that Kirkman espouses.

For a while, Moss comes off as an outright villain in the world of “Designated Survivor” and in a season that introduces a full-fledged bioterrorist, no less. He conducts himself the same way most people expect a corrupt politician to behave. He doesn’t care about truth, integrity, or decency. He does whatever he must in order to win the election and secure his power.

In previous seasons, Kirkman would’ve sought a way to counter those tactics and come out with his integrity intact. It was part of what made him so respectable, as both a character and a politician. Season three makes it abundantly clear that this is not going to work this time. If Kirkman wants to win, he’ll have to compromise his principles.

Without spoiling too many plot points, I’ll just state that the conclusion of this struggle leaves Kirkman in a very vulnerable position. He’s no longer the same man he was when he became President. The attack on the Capitol that made him President was an extreme circumstance that he never could’ve known about. What happens with the election in season three is very much a byproduct of his own choices.

It doesn’t definitively answer those questions I listed earlier, but it does offer some insights. More than anything else, season three of “Designated Survivor” makes the case that the political process will ultimately corrupt anyone who gets involved. It doesn’t matter how principled or decent they are. The very nature of navigating power requires that people compromise their ideals.

It’s not just Tom Kirkman who struggles with it, either. The same supporting cast that helped him cling to his principles for the first two seasons, such as Aaron Shore, Emily Rhodes, and Seth Wright, end up compromising, as well. For some, it’s disconcerting. For others, it’s downright traumatic. In the final episodes of Season 3, the reactions of Emily Rhodes nicely mirror those who valued Kirkman’s character.

There’s now an unavoidable disconnect between what Kirkman says and what he does. Even the actions of Cornelius Moss are obscured when he too becomes a victim of shady political dealings. In the end, there’s no one left in “Designated Survivor” whose integrity hasn’t been compromised. There’s also no one left whose morals aren’t muddled by circumstances.

Even in a fictional context, the politics in “Designated Survivor” are surprisingly reflective of real-world complications. Like in the show, every political party or movement believes they’re right and their opponents are wrong. They believe in what they’re doing. They also believe that if they fail, then the wrong policies will prevail.

Conservatives, liberals, libertarians, and even anarchists are guilty of that flawed mentality. It’s one of the many reasons why politics tends to breed polarization. When people are so convinced that they’re the good guys, they become more willing to cross certain lines to defeat the bad guys. Tom Kirkman managed to avoid that for two seasons. He couldn’t in the third.

Whether or not he’s vindicated for his choices remains to be seen. Depending on whether the show gets a fourth season, it’s inevitable that he’ll face consequences for his choices. How he manages those consequences will reveal how much integrity he still has. If he plays his cards poorly, he may not have any left when all is said and done.

Designated Survivor” is a great show that explores difficult issues. Season three had its faults, but it marked a major turning point for Tom Kirkman. He is definitely not the same person he was in the show’s first episode, but he’s not quite at that point where we can say he’s lost sight of his laurels.

Both circumstances and politics did plenty to change Tom Kirkman over the course of the show. You could make the case that these forces corrupted him. After season three, you could also make the case that he’s now on the same path as Walter White from “Breaking Bad” in that these circumstances simply brought out a side of him that was always there.

Whatever the case, the ugliness of politics is something people have to navigate, both in the real world and the fictional world of “Designated Survivor.” Good people will keep trying to do good. Corrupt people will keep pursuing corrupt behavior. Politics, whatever form it takes, can only ever complicate that process.

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“King of the Hill” Vs. “F is for Family” And The Evolution/Disillusion Of The American Dream

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What happened to the American Dream? That’s a question more and more people are asking these days. It’s a question people have been asking in some form or another for decades. Even if you’re not American, it’s relevant because as politics and economics become more global, there’s a sense that a great many people are being left behind. More recently, it feels like that trend is accelerating.

Since I’m not a political scientist or an economist, I’m not qualified to break down all the factors behind these trends. However, given my age and relative experiences, I’ve witnessed many of the changes and upheavals that have shaped the current state of affairs. Over that period, I’ve even seen those changes reflected in two iconic animated TV shows from two disparate eras.

One is “King of the Hill,” a colorful slice of the late 90s/early 2000s cultural zeitgeist. The other is “F is for Family,” a show that, despite taking place in the 1970s, heaps plenty of scathing criticism on current American ideals. I’ve written about both shows before, citing the former as a lesson in work ethic and the latter as a perfect satire for its time. I also consider myself a fan of both shows.

Combined

On their own, they each have their own sense of style, story, and overall humor. They’re both entertaining and endearing in their own unique way. When placed side-by-side, though, they reflect an even greater message that goes beyond the themes of either shows. That message can be summed up with one harsh realization.

The American Dream isn’t just failing. Those who pursue it are being punished.

I know it sounds bleak, if not fatalistic. It’s certainly not a message that “King of the Hill” and “F is for Family” ever state overtly. However, when placed in the context of their time and their over-arching themes, the overarching themes are clear, if not unavoidable.

In terms of ideals, Hank Hill and Frank Murphy have a lot in common. They’re both hard-working American men who see themselves as embodiments of American values. They take pride in their roles and responsibilities as husbands, fathers, and providers. They’re active in shaping the identity of their community. They both have an idealized vision of what the American Dream entails.

Some of those similarities extend to their family and how they impact the structure of the show. Many plots in “King of the Hill” and “F is for Family” revolve around Hank and Frank reacting to events that happen within their family. They have wives that seek their own path and kids who rarely appreciate the work they do. Much of the comedy in each show emerges from these conflicts.

The face of many such conflicts.

Things really start to differ when the bigger picture of their respective worlds comes in. Whereas “King of the Hill” reflects a more optimistic view of the world that was more prevalent in the late 1990s, “F is for Family” paints a more dire picture. In Frank’s world, American ideals are failing and he’s struggling just to keep that vision alive.

In just three seasons, Frank has lost his job, struggled to provide for his family, and had his dreams derailed again when his wife gets pregnant. While his temper and his penchant for threatening to put people through walls don’t help, many of the factors that put him in such situations aren’t his fault. In fact, his tendency to do things the right way, as Hank often does, often work against him.

This isn’t even Frank’s worst day.

Within this dynamic, “King of the Hill” and “F is for Family” diverge in a critical way that speaks to the larger issues surrounding the American Dream. In the world of “King of the Hill,” doing the right thing and following American values are rewarded. It’s one of the show’s most common themes over the course of 13 seasons.

In this world, working hard at a blue collar job is fulfilling, respectable, and rewarding.

In this world, a man can support his family with a job that involves selling propane and propane accessories.

In this world, people who take short-cuts or try to avoid hard work ultimately fail.

In this world, a man who marries the woman he impregnates is rewarded with respect, support, and admiration.

Simply put, adhering to principles of hard work, high morals, and personal responsibility will help someone achieve the American dream. Hank Hill, with his quaint suburban house and supportive community, is the personification of these principles. It’s not always easy for him, given his influences, but that only makes his adherence to those principles more respectable.

This is virtuous system is not present in “F is for Family.” If anything, it’s turned upside down. Frank Murphy followed those principles as closely as Hank. He put his personal goals on hold when his wife got pregnant. He served his country dutifully when he got drafted. He works hard and provides, despite having a slob for a boss. However, his efforts go unrewarded. If anything, they’re punished.

In Frank Murphy’s world, a hard-working man can save the company he works for, but still get fired.

In Frank Murphy’s world, marrying your pregnant girlfriend instead of following your dreams will only get you ungrateful kids, a miserable wife, and an unfulfilling job.

In Frank Murphy’s world, people who eschew hard work and behave irresponsibility are rewarded with cocaine-fueled parties and trophy wives.

In Frank Murphy’s world, a corporation can steal your idea and make millions off it while you don’t even get credit.

The system is harsh, unfair, and completely unconcerned with who adheres to American ideals. The only thing that ever seems to matter is dumb luck and already having significant wealth or privilege. Sadly, this is a lot more consistent with the current state of affairs where the rich and powerful exact immense influence, creating a system that benefits those at the top while straining everyone else.

Frank yelling on behalf of America.

This unfair system even extends beyond the political and economic sphere. In “F is for Family,” there are multiple characters who seem to succeed, no matter how little they work or how unmotivated they are. It’s not unlike those who flaunt their lavish lifestyles on Instagram, which is often fueled by inherited wealth that they did not work for or earn.

That kind of system wouldn’t just leave Hank Hill aghast. It would completely undermine his world, his identity, and his ethics. Whether he would resort to putting people through walls instead of just kicking asses is difficult to determine, but the bigger picture is clear. The American Dream in his world is intact whereas its reversing course in “F is for Family.”

To some extent, this reversal is consistent with how the world has been trending since the late 1990s and early 2000s. People have become increasingly cynical and trust in institutions is declining. Thanks to the media and the internet, it’s getting harder to hide the harsh realities of a world where just doing the right thing isn’t enough anymore. Despite taking place before the internet, “F is for Family” perfectly reflects this reality.

The face of that harsh reality.

It creates a dynamic that’s bound to create more Frank Murphys and fewer Hank Hills. People are told that the American dream is still in their grasp. They just have to be like Hank, playing by the rules, working hard, and not taking shortcuts. Those who buy into that dream aren’t just let down. They’re outright punished.

Frank didn’t become a profanity-spewing rageaholic overnight. As perfectly depicted in the show’s opening credits, the various machinations of this unfair system just kept hitting him and no matter how hard he worked or how much he sacrificed, he never got closer to the American Dream. If anything, it just kept getting farther away.

Both “F is for Family” and “King of the Hill” have plenty to offer in terms of insights. Their respective worlds may take place in an animated world where former presidents and future serial killers can show up, but such exaggerated dynamics help each show convey a certain message that fit perfectly within the context of a certain time.

The idealism in “King of the Hill” and the satirical deconstruction in “F is for Family” paint conflicting pictures of the American Dream. Both still glorify it as an ideal, but each present a different understanding of how it plays out. Within the comedy, there are genuine, relevant messages worth considering.

For many people in the real, non-animated world, the American Dream still matters. Many still work as hard and as passionately as Hank Hill and Frank Murphy. It’s hard enough when those efforts go unrewarded, but when doing the right thing becomes a liability, it’s hard to call it a dream.

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Revealing (And Deconstructing) A Theological Journey In “Lucifer” Season 4

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In a world where Heaven and Hell are real, celestial beings exist, and the devil has Tom Ellis’ sex appeal, how do you know what is holy and unholy?

How can you be sure that everything you think you know about divinity, sin, and tradition is true?

How can you even be sure that your beliefs are true?

These are just some of the questions that come up in the first three seasons of “Lucifer.” Most of those questions were explored, but unresolved. For a while, it seemed like they would go unanswered after Fox canceled the show. Then, Netflix performed and unholy miracle and saved it, releasing a fourth season that continued this devilishly journey.

Having been a fan of the show since it debuted, I set aside large swaths of my weekend to binge-watch all 10 episodes and follow Lucifer Morningstar through the next round of hellish endeavors. Through three seasons, “Lucifer” has crafted a uniquely polished theology that emphasizes individual freedom, personal responsibility, and pursuing desires. I had lofty expectations, to say the least.

Lofty expectations personified.

Considering the overt sex appeal in some of the promos, I was more than a little skeptical that it could measure up. Without getting into all the juicy details, some of which includes clear shots of Tom Ellis’ butt, I’ll say without hesitation that Season 4 of “Lucifer” raised the bar for just how divinely great this show can be. I’ll also say it succeeded masterfully in expanding both the drama and the theology of the show.

Through 10 episodes these characters that have undergone so much upheaval take huge in their respective story arcs. In doing so, the overall world and the divine machinations that drive it expand. I could write multiple articles about each character, from Lucifer to Chloe to Amenadiel to Ella Lopez, and how they evolved as characters.

However, after watching every episode and taking the time to process it all, I believe that the biggest success of this season of “Lucifer” is in how it refines its devilish theology while deconstructing others. From the first episode to the tenth, the divine and not-so-divine forces guiding these characters acts as the catalyst that makes every other part of this show work.

By far, the biggest upheaval of Season 4, if not the entire show, is Chloe Decker accepting that Lucifer really is the devil. It took three seasons to get to that point. For a while, it was a running gag in that Lucifer was so overt about his identity. Chloe, like everyone else, just didn’t believe him. Now, having seen his devil face and his wings, she can’t avoid the truth.

This hits Lucifer almost as hard as Chloe. It adds a huge complication to their relationship, which had been growing deeper since the latter part of Season 3. It changes the dynamics between them considerably. They can’t be as coy or playful as they were with Lucifer’s devilish persona as they were in previous seasons. At some point, the truth must seep in.

Chloe’s initial reaction and eventual acceptance of that persona is incredibly revealing, both in terms of how it impacts her character and how it impacts the theology of the show. After seeing Lucifer’s true face, she faces a daunting challenge. This man, who she has grown so very close to, is the literal devil. How can she possibly process that?

All she has to go on are all the stories people tell about the devil. Many cultures offer various histories of this unholy figure. In some, he’s a fallen angel. In others, he’s evil personified. Whatever his heritage, they all have a similar theme. Lucifer is not one of the good guys. If anything, he’s the standard on which all evil is measured.

None of those stories completely mesh with the Lucifer that Chole knows. While she has seen him act in selfish, narcissistic ways, she has also witnessed his capacity for good. He will go out of his way to pursue justice, ensuring nobody escapes righteous punishment. He also has an admirable code of honor. He doesn’t lie. He doesn’t betray the trust of others. He also makes good on his deals.

These personal experiences do not fit the caricature that generations of mythology and folklore have espoused. It leaves Chloe incredibly conflicted. On one hand, she has all these texts and traditions telling her one thing about the devil. On the other, she has her own personal experiences that she has witnessed first-hand. What is she supposed to believe?

It presents an indirect, but powerful criticism about how others perceive God, Satan, and divinity in general. In many respects, it strikes at the foundation of everything anyone ever assumed about the devil. Most of us only ever have these time-tested traditions to go on when we imagine the persona of the devil. How can we be sure any of them are true?

For most people, it’s impossible to know. As a result, they live their lives thinking they have a clear understanding of who the devil is and where he fits in any divine plan. The fact that so many of these ancient stories agree that the devil is evil comes off as legitimate proof that he cannot be trusted.

This is where Chloe’s work as a detective really pays off. She knows better than most that it is possible for commonly-accepted stories to be wrong. Even before she saw Lucifer’s true face, she demonstrates time and again that even the most comprehensive anecdotes can be flawed. That’s why she always pursues actual, verifiable evidence.

In the first three seasons of “Lucifer,” she sees ample evidence that Lucifer is not evil incarnate. He has plenty of opportunities to do deplorable things and get away with it. He ultimately chooses not to. He even gives understandable reasons, every step of the way. In essence, he gives Chloe his side of the story, which never gets told in religious texts.

It’s true that he rebelled against God. It’s also true that he ruled Hell and oversaw the punishment and torture of countless souls. However, is that enough to make him evil? Is punishing those who deserve it an evil act? He even made clear in one episode that the punishment isn’t technically eternal. People simply endure whatever torment their guilt conjures in a repetitive time loop.

What makes this so revealing, both for Chloe’s story and the overall theology of the show, is how it deconstructs traditional notions of evil, the devil, and how people navigate right and wrong. Chloe has to process all these influences, many of which give her conflicting information. Some tell her Lucifer is evil. Some tell her he’s not. She’s genuinely torn, right up until the final episode.

In the end, the determining factor in “Lucifer” comes back the individual. In both this show and the comic that inspired it, the individual is ultimately responsible for making that choice and shouldering the responsibility. It reflects the heart of Lucifer’s rebellious persona. From the first episode to the dramatic climax of Season 4, it’s all about what an individual chooses.

There’s no divine will to choose for us.

There’s no divine plan that guides us.

There’s only what each individual chooses to do and the consequences of those choices.

The way Lucifer goes about it seems selfish, at times. He and others like him freely pursue their desires, unconcerned with how they offend traditional notions of civility or decency. When there are consequences, they don’t avoid them. It effectively builds an entire theology around individual empowerment and personal desire.

For most of the show, Lucifer is the embodiment of that theology. In Season 4, it’s Chloe who best reflects this sentiment. She is the one who decides whether to accept Lucifer for who he is. She has to sift through all the competing traditions, assumptions, and influences to decide for herself. On top of that, Lucifer must make similar choices about who he is and his place in the world.

By the end of Season 4, both Lucifer and Chloe make critical decisions that have a truly heart-wrenching impact. They’re each perfect personifications of a theological journey centered around the individual. Whether that individual is human or a celestial being doesn’t matter. Their choices are still the most powerful acts they can ever perform.

There are plenty of other ways in which this theology manifests. The parallel story surrounding Amenadiel and Dr. Linda involve some very weighty choices, as well. Ella Lopez and Dan “Detective Douche” Espinoza face their share of touch decisions as well. There are also the choices made by Eve, who is by far the most colorful addition to Season 4.

Then, there’s Mazikeen. She’s just awesome all around and has been since Season 1.

There are many other plots, concepts, complexities to explore with “Lucifer.” Season 4 does more in 10 episodes than the past two seasons, combined. It doubles down on notions of individuals charting their own spiritual path, pursuing their own desires, and taking responsibility for their actions. The results are dramatic in both a holy and unholy context.

There’s still plenty to build upon. While I won’t spoil the end of the final episode, I will note that it lays a solid foundation for Season 5. At the moment, it’s not clear whether Netflix will pick it up again. However, Tom Ellis himself has stated that there’s still more story to tell. Given the rich mythology the show has conjured in four seasons, I totally believe him.

Fittingly enough, the devil is in the details and there are still plenty of details to explore.

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A Devilishly Sexy Promo For “Lucifer” Season 4

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Not long ago, fans of “Lucifer” like myself were upset by the news that Fox had canceled the show after three seasons. Then, in a miracle worthy of the devil himself, Netflix saved the show and gave it a fourth season. If that weren’t wondrously unholy enough, a teaser came out today that takes devilish sex appeal to a whole new level.

I could write a million of the sexiest novels. I’ll never be able to put into to words just how hot it is so I’ll just show it.

Whether you’re gay, straight, bi, trans, religious, or an ardent atheist, there’s no getting around it. Lucifer is sexy as hell in the most literal way possible. May 8, 2019 cannot come fast enough.

Yes, I realize that’s a poor choice of words. No, I do not care.

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