An animated series that has become a veritable phenomenon, “BoJack Horseman” is a trashy and limitless satire of the Hollywood world, embodied by an impressive cast of stars.
To pass the time with confinement, franceinfo offers you cultural advice during this particular period of fight against coronavirus. We recommend reading, music, series or movies every day.
An animated film: BoJack Horseman
This cartoon, it is not frankly designed for children. Because if since the Simpsons, the world of animation knows how to speak to adults, without respecting either the morals or the conventions of the genre, this BoJack Horseman, to watch in its original version for known and hilarious voices, reaches a new level. BoJack is a horse, already, in a world where humans and animals coexist as if nothing had happened. BoJack is also a Hollywood actor, very well known thanks to a series in the 1990s, which has become a has been today. The problem is that BoJack is also a bit bent, drugged, alcoholic, unable to commit.
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Rarely has a series gone so far, denouncing the world of showbiz as well as politics, excessive consumption, social networks, the American way of life, in fact. In six seasons, the last posted on Netflix At the start of the year, this original series from the American platform gathered millions of fans around the world behind it, becoming a monument of modern popular culture. Thanks to BoJack, you howl with laughter or cry with rage, emotion is everywhere in the corners of a story that is ultimately very depressing.
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Will Arnett and Aaron Paul, Jesse Pinkman from breaking Bad, lend their voices and much more to the two main characters. But from Andrew Garfield to Paul McCartney, Daniel Radcliffe and Lin-Manuel Miranda, the cast of guests is impressive. Each 20-minute episode is a discovery; BoJack, dirty, mean, depressed … But so endearing.
A book : The right to laziness, by Paul Lafargue
It is a classic in the social sciences, a pamphlet of around forty pages, funny, lively, provocative for the time, which appeared in 1880. Paul Lafargue was an important player in the creation of the socialist movement in France, there has dedicated his life. Revolutionary, republican, anti-clerical, he believes that the working class of the end of the XIXth century is possessed by a strange madness. “This madness is the love of work, the dying passion for work, pushed to the point of exhaustion of the strength of the individual and his offspring “, this is how” the right to laziness “begins..
According to Lafargue, the workers blinded by Christian and bourgeois morality, “let themselves be perverted by the dogma of work”, leaving to the possessors the leisure to enjoy them, the joys of existence.
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Vilipending the workers in this way was all the more daring since Paul Lafargue was the son-in-law of the man who had given himself the task of enlightening the working classes: Karl Marx himself. He meets him in London, puts himself at his service and is full of praise for this charismatic and workaholic man. Not really mutual love. When Paul Lafargue admits his feelings for Laura Marx, his father's favorite, the latter notices the displacement of “the attraction of the father to the daughter”. Marx calls him “Creole”, he is by his Cuban mother and will not resolve his daughter's marriage until the question of the dowry has been settled.
A time considered a pamphlet sympathy, “The right to laziness” has become a founding text. Annunciator of the future demands of a working class at the time crushed of work, it carries a provocation of which some will not recover: the use of the word “laziness” is not innocent, it does not say leisure, nor time free, which will later be market values. Paul Lafargue is ahead of its time, it denounces overproduction and the constant search for new markets. For orthodox Marxists it probably goes too far, work, anyway! He is capable of flashes and unresolved contradictions, but his reading is delightful, “O laziness, mother of the arts and noble virtues, be the balm of our human anxieties”, to meditate in these times.