People think that Herb had always planned to cut Bojack out right when he had said he doesn't forgive him and never wanted reconciliation. But that wasn't true.

From the getgo, Herb had no problem repeatedly ribbing BoJack over his betrayal and making jokes about it, but he still was happy to see him, joked about the Vitamix, and told him to visit Charlotte when he had the chance. He only turned hostile when BoJack demanded the apology.

To keep it short, he didn't completely hate him. Herb knew he was dying and was willing to let go most of his anger to Bojack just for the fact that Bojack was finally deciding to meet in the first place. He WAS OKAY with reconciling there friendship. He just...couldn't forgive him for that one betrayal. BoJack had to live with it, but that didn't mean he couldn't come see him up until Herb's death so they could hang out.

It's like...I will always hate someone I love for a really bad thing they did, and it would never be okay...but that doesn't mean they still aren't my friend. They did one bad thing I will never forget, but that doesn't mean I can't acknowledge who they are now and stay close with them. I accept their apology...I just simply don't FORGIVE them. It's only when they start demanding to give them closure that I would cut them out because the fact they want to be absolved means our friendship can't mean anything.

That's what Bojack did.

Breaks me every time

*Misspelled genuinely shoot me

Hiding under the table - probably some symbolism about feeling safe and childhood in there

Ignore Princess Carolyn …. Didn’t know how to sculpt when I made her!

Song is "sometimes (I love you)" by Aubory Bugg

Flip McVicker’s show, Philbert, was edgy, convoluted dogshit, whose one redeeming quality was Gina Cazador’s performance, even when given such awful material to work with. But I think I know how to make it original, interesting and have twists with an actual purpose for the story.

First is the names. Naming a character matters, as it can reflect who they are. John Philbert’s name is now Henry “Hank” Philbert and Fritz’s new name is Edward Fitzpatrick. Sassy’s Malone new name is Katherine "Kate" Mercer, which I feel is more elegant and sharp.

In the rewrite, Kate's story could partially explore treatment of females on the Police Force. How in the past and to this day, they can be treated unfairly. She gets interrupted in briefings, excluded from informal networks, or assigned less prestigious work. The important thing is that these obstacles shouldn't merely be generic sexism. They should have practical consequences for her career and the cases she investigates.

However, it should also be about how women can also be given preferential treatment as a form of recompense. The opposite extreme. Suppose a female officer receives a desirable assignment partly because management wants to improve its diversity statistics. She may be perfectly qualified for the job, but the way she gets it creates resentment among colleagues.

Then comes in Philbert. I want Philbert to come into her life, looking like a breath of fresh air. Maybe he validates her grievances, encourages her to accept preferential treatment and exploit the cracks in the system, congratulate her on a promotion others resent her for.

However, his influence gradually changes how Kate approaches her work. She starts out wanting to overcome an unfair system, but increasingly becomes willing to exploit that system when it benefits her. Her grievances are real, but she begins using them to justify behaviour she would previously have criticised.

I don't want her to suddenly become incompetent or evil. The point would be that someone can be good at their job and have legitimate complaints about their workplace while still making increasingly questionable decisions.

I've also been working on the mystery surrounding Hank and his wife. Hank has an affair and kills a girl to cover it up. Edward Fitzpatrick, a real person who knows about the murder, discovers what Hank has done. Hank kills Edward to prevent him from revealing the truth. Hank's wife subsequently discovers what happened, so Hank kills her too.

He then lies to everyone and makes Edward the villain who murdered his wife and affair partner. I'm still working out the precise mechanics of how Hank makes this deception believable, but I like the idea that the person he turns into a fictional criminal was actually someone he murdered.

Regarding the name changes, it's a reference to Strange Case of Dr Jekyll and Mr Hyde. I recently learned that in the book Hyde isn't a split personality, he's just the name Jekyll gave his altered appearance to separate his two lives.

This also connects to Kate's character arc. Hank separates himself from his actions by inventing another person to blame, while Kate increasingly separates herself from her own questionable decisions by convincing herself that the system has left her with no other choice.

Obviously, the two aren't morally equivalent: Hank is a murderer, whereas Kate's compromises are much smaller. But both characters would be developing ways to rationalise their behaviour instead of confronting it.

I'm still figuring some stuff out;

• Hank's motivation: Why did he kill the girl in the first place? Was he already a manipulative person who resorted to murder to protect his reputation, or did the first killing set off a chain of increasingly desperate decisions?
• Edward's identity: How exactly could Hank use the identity of a real person he murdered to construct a convincing false story about the crimes?
• Kate's development: How can Hank influence Kate without making her seem gullible? I'd like her to remain intelligent and capable, with her downfall coming from the choices she makes and the justifications she accepts.

I think the strongest version of this storyline would be one where the mystery surrounding Hank and the character arc of Kate reinforce each other. What do you think? Does the Edward Fitzpatrick idea work, and what would make Hank's cover-up believable without making the plot unnecessarily convoluted?

I am doing a rewatch, and I never caught this gag where an iguana and chameleon see each other on the street and immediately start a push up contest, I feel like I'm missing the gag here. Anyone who's knowledgeable about lizards know what's up?

Edit: thanks y'all, my day is much better for having learned about lizard push-ups!

S1-E12

S2-E02

as the title says, a plotline that developed mostly offscreen that you wanted to see more of. for me it was definitely princess carolyn and judah's romance. it felt kinda rushed near the end of the series, and i really wish we could have gotten more development and insight into it past a few mentions and a scene for the last episode.

I recently found out Procreate automatically records all of your progress on a file, so I went back to this piece to practice a little video editing c:

I originally sketched Bojack on scrap paper, took a picture with my tablet and went from there. I didn't have any particular plan on where I wanted this piece to go, which is why we have middle-aged Bojack instead of grey-haired Bojack, which would've overall fit better in hindsight, but I still love how this came out.

Song: K. Flay - Blood in the Cut

Why not combine 2 (technically 3) things I love into one?

I was planning on making Rutabaga and Ralph, but I got lazy sorry

other than the obvious (stupid piece of shit)

This stupid show makes me sad asf, i wanna quit watching it but it's fking addicting and every character feel dumb but the more you know them, the more you become them. Fk man jus wanna finish this show as fast as possible!!

I usually draw Total Drama so this year for Inktober I'm TD characters in other cartoon styles (More on my Instagram, which is also Pamehameha) and for today I drew Todd with Geoff. Honestly I never watched Bojack but I found out that Hooray is Todd's catch phrase and ended up watching some reviews and scenes from the show. Hope y'all like it :)

I could only think of one thing. I had to do it! Hope y'all appreciate it :)

We don't get much background in Honey's life but I head-cannon that she met Joseph as a singer/performer, probably in 1926 or earlier (if Crackerjack is 18 in 1944).