Bojack Horseman finds itself on an odd plane of existence. Bojack is by no means Netflix’s premiere show, undoubtedly below ‘Orange is The New Black‘ and ‘House of Cards‘ in the pecking order at the marketing department of the on demand service. Yet, with the second season of Bojack releasing this week I can’t help but feel it is not just Netflix’s best original work, but potentially the best show currently airing outside of Louie.

For those reading who have never seen Bojack Horseman I can only provide unparalleled recommendation along with a warning. Bojack is unlike anything you have ever seen. Upon starting the first episode of what will likely result in a two season binge watch, you are immediately struck by a unique art style, wonderfully demonstrated by the shows opening sequence which in my mind is debatably the coolest of all time, or at the very least since Dexter.

A unique art style is far from all Bojack brings to the table however, in fact it is an almost inconsequential bonus in comparison to the shows more prominent features. Bojack Horseman is first and foremost, very, very funny. Laced with visual gags and physical comedy as well as consistent, witty dialogue Bojack frequently provides ‘laugh out loud’ moments as well as constant smirking at jokes and references with smaller pay-offs. Background gags are another staple of the show, providing a greater comedic depth than that of the very blatant surface level humour typical of modern sitcom (I’m looking at you Big Bang Theory). These also contribute to Bojack being innately re-watchable, as repeat viewings allow you to scour each episode in search of the many secrets the show holds.

Bojack also boasts a strong focus on development of character and character driven plot making for an intensely personal story, with the titular character being not so much relatable as he is believable, which is incredible considering he is an anthropomorphic horse. On several occasions over the course of the twenty four episodes I found myself in complete silence. Bojack creates moments in which I felt empathy, disbelief and disappointment for the majority of the cast of mostly excellent characters. This is of course a testament to the excellent source material, but also to the voice actors and actresses who bring these characters to life. Will Arnet, the voice of Bojack produces what is in my opinion a near flawless performance as he provides depth and feeling to a fundamentally flawed individual. Aaron Paul, Alison Brie, Paul F. Tompkins and Amy Sedaris fill out the remainder of the main cast and each deliver strong, unique performances with Brie a standout in the second season. The heart felt and endearing performances and plot developments make for an excellent foil to the comedic nature of the show, establishing the show as a nuanced drama as much as it is a light hearted sitcom.

Intelligent writing is Bojack’s greatest asset, but the format in which the show is delivered is a determining factor that truly allows the show to breathe. Bojack’s easily digestible 25 minute episodes placed on Netflix’s easily accessible streaming network, combined with a culture of binge watching make for a perfect environment of not only multi-episodic plot and character arcs, but multi-seasonal arcs. These traits are typical of high end dramatic serials as opposed to sitcom, let alone animated sitcom. On another platform a production in the vein of Bojack Horseman may have found itself falling inline with Seth MacFarlane-esque equivalents such as Bob’s Burger’s, Family Guy or Archer, and that isn’t inherently a bad thing, those are each great shows in their own right. However due to its positioning in the current television landscape Bojack has separated itself from the heard, with long running plot and character developments over its two seasons taking a natural course without the need to bombard the viewer with reminders of the latest episodes happenings – likely because they have just seen it.

Outside of Bojack’s intense look at its own world and characters it is not afraid to tackle cultural and social issues facing the real world, albeit with a unique spin. Within the first few episodes the writing staff tackle celebrity culture, child stars and their position within the western world as well as the perception of soldiers and war in the western world, particularly America. Later episodes look at a whole skew of other social issues as well as relatable personal struggles such as depression, loneliness and failure experienced by a cast of characters in a harsh world with an immensely real feel, despite the farcical setting. The questions provided by these themes create brilliant moments within the show whilst leaving the viewer in a profound state of thought as they ask similar questions of themselves or others around them.

My intention here is not to over sell Bojack – it is not without its problems. A somewhat messy pilot fairly heavy on exposition is one such issue, though I would implore that you press past this as the subsequent episodes are markedly better with the concluding episodes of season one and the entirety of season two being truly exceptional. My intention with this piece is rather to convey what a fantastic work of originality Bojack Horseman is. Creator Raphael Rob-Waksberg along with his cast and writing team have created a world in which I truly felt an entire spectra of emotion and genuinely cared for a cast of misfits in a fully engrossing yet entirely farcical setting, featuring an anthropomorphic horse as the lead role. I can only hope that the show along with those who produced it receive the credit they deserve for this outstanding piece of art.