“Bojack Horseman” never feels prescriptive, but Bob-Waksberg is open about the ways in which he saw the show’s impact as a part of the process of making it. “I’m not for censorship, but I am for being accountable and really being considerate of what the stories are doing and the effects that they have,” he told HuffPo, noting that the writers’ room wasn’t always in agreement about his theory that TV normalizes a lot of behavior it shouldn’t (he uses bad boy cops as one example). That friction between the two worldviews ultimately led to an incredible work of television, one that engages on these topics rigorously and regularly, walking a fine line between a redemption story and a story about messy, complicated consequences.
After hearing about Weinstein’s comment, Bob-Waksberg tells Vice he began to question the way the show was being received. “Are there people who really see themselves in BoJack in major ways?” he recalls asking, “And are they getting too much comfort from that connection?” This is a thread that’s built into not just the fifth season of the series, but also the final one, in which Bojack initially seems to have reckoned with his past before the full scope of the fallout from his years of misdeeds finally becomes apparent. In the end, his ending is a realistic one: his daughter no longer speaks with him, he’s been edited out of “Horsin’ Around” reruns, and he served a stint in jail that left him as lonely as ever. Yet in the grand tradition of awful men, he still has a couple of people in his life who care about him despite their better judgment.
Source From: www.slashfilm.com
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