The sitcom format is one of the longest standing television formats ever. Popularized in the mid 1900s by shows like I Love Lucy, The Adams Family, and All in the Family, this format is made up of predictable characters, relatively stagnant relationships between characters, and a return to normality at the end of each episode. This return to normality is the idea that there is: 1. a base starting point of each character at the beginning of the episode, 2. a moderate conflict introduced to the world of the show, and 3. a resolution of this problem at the end of the episode with the characters returning to their original starting point of normality. This allows for audiences to pickup on whatever episode they please without any plot confusion.
While Bojack Horseman adheres to certain elements of this sitcom format (length, character driven plot, and general episodic format), the show strays from this traditional sitcom mold by eliminating this return to normality. Over the course of the show, characters make many mistakes (sometimes drastic ones), but these mistakes rarely get resolved at the end of the episode. We even see the consequences of Bojack’s actions in season 1 come back to bite him in the final season of the show. This theme of actions having consequences also takes form by altering the relationships between the show’s central characters, something that rarely happens in traditional sitcoms. Another key difference from traditional sitcom characters is that the characters actually WANT to change and be better.
The show becomes very meta with this sitcom comparison through the use of the fictional 90’s sitcom Horsin’ Around that Bojack starred in, giving his acting career life. We often see Bojack rewatching his old sitcom at some of his darkest moments in the show, giving him this happy escape from reality that sitcoms are supposed to create. This juxtaposition between the happy Horsin’ Around’ sitcom world and the often dark and depressing world of Bojack Horseman shines a light on the unrealistic reality of almost all sitcoms. Through this, despite being an animated world full of talking animals, Bojack Horseman is able to create possibly the most realistic picture of reality of any sitcom ever.
2 replies on “How Bojack Horseman Breaks the Sitcom Mold”
When I think of sitcoms, I think of Friends. It has all of the traditional elements: a simple premise, a simple set, and a reliance on character relationships which you cover in your three-part breakdown. I agree with you in thinking that modern sitcoms, however, are much more intriguing. I really enjoy when shows/sitcoms play with “the meta”, like Bojack Horseman does. I also think that WandaVision is worth mentioning here. It takes traditional sitcom elements, but updates them to conform with the Marvel Cinematic Universe. The show emphasizes Mittell’s genre theories in that it is equal parts action and comedy and, ultimately, questions what defines a genre and instead focuses on a show combining various elements of numerous genres.
Hi Noah!
After reading your post, I was trying to think about how the three-part breakdown of the sitcom format could be applied to Community, a show that plays off the structure and tropes within this genre. I agree with your point that sitcoms are centered on a fixed cast of characters who carry over from episode to episode within the series and I think that these predictable characters within Community are an essential part of the show’s commentary on the genre. The show presents a cast of stereotypical characters, but it flips these tropes on their head through Abed, a socially inept student who is obsessed with film and television. Throughout the show, Abed compares the situations that the characters are in, as well as certain tropes that the series intentionally follows, to being on a TV show. This meta and self-aware commentary make Abed the audience surrogate, breaking away from the traditional structure within sitcoms.