Most radically, there was the show’s obsessive circling around its accumulated past, whose visual summary might be the whiteboards in one of the final episodes (“Sunk Cost and All That”) on which BoJack, together with Todd, Diane, and Princess Carolyn, tries to list all his many crimes and misdemeanors. That kind of unruly frame-breaking isn’t necessarily something you might associate with poignancy or sincerity. But it was this continued backtracking attention to its own making that finally allowed BoJack Horseman to end up showing that cartoon might be the most truthful model of our landscape. A person, you might conclude, is also an outline infested by other selves, a vehicle for mournful self-criticism and recomposition. We’re all fantastical now, it seemed to argue, in the multicolored digital light.
Dogs have been our friends since more than 20000 years. Wolves is a different story.
The contemporary relationship between people and their dogs results from the long coevolution traced by Pierotti and Fogg, as well as genetic changes similar to those seen in Belyaev’s foxes. In some instances, the dog–human relationship can be deep—some would argue as deep as that between two humans. But do humans and dogs think in similar ways? Until recently the question seemed unanswerable. The American philosopher Thomas Nagel summed the situation up in his famous paper “What Is It Like to Be a Bat?,” in which he argued that the perceptions and experiences of bats and humans are so different that humans can never know the bat’s perspective, and vice versa. It’s an argument that’s been used to dismiss the idea that humans can know what it is like to be any animal species.
Based on the novel by Australian writer Liane Moriarty and adapted by David E. Kelley and Jean-Marc Vallée, Big Little Lies portrays a group of women whose privileged lives are, predictably, neither as easy nor as enviable as they might appear. As Madeline, Reese Witherspoon—projecting herself into the world like something shot from a cannon—faces a host of first-world problems: her tense relationship with her ex-husband and his sexy young yoga-instructor wife; her resentful teenage daughter; her sweet but boring second husband; and the resultant frustrations that she passionately channels into a community-theater production of the musical Avenue Q. Her friend Celeste (Nicole Kidman) has given up a law career to raise twin sons and placate her husband Perry (Alexander Skarsgård), a man whose attractiveness and charm conceals the soul of an abusive, controlling psycho.
The camera has made all the difference. A camera can mean that there is no ambiguity about what happened. Feidin Santana just happened to be where he was with his cell phone when Walter Scott was killed in North Charleston, South Carolina, on April 4, 2015. We see Scott on the police car dash cam video getting out of that black Mercedes with the supposedly broken brake light and running. Then we see, on Santana’s video, Michael Slager firing eight shots into Scott’s back. We don’t see Scott trying to grab Slager’s taser, as Slager alleged.