document_title: Mister Ed

question_text: who was the voice of mr. ed the talking horse

text: Mister Ed

text: Beginnings[edit]

text: The Mister Ed show concept was derived from a series of short stories by children's author Walter R. Brooks, which began with The Talking Horse in the September 18, 1937, issue of Liberty magazine.[3] Brooks is otherwise best known for the Freddy the Pig series of children's novels, which likewise featured talking animals that interact with humans. Sonia Chernus, secretary to director Arthur Lubin, introduced Lubin to the Brooks stories and is credited with developing the concept for television.

text: The show's concept resembles that of the Francis the Talking Mule movies in which an equine title character talks, but only to one person, thus causing a variety of opportunities and frustrations. The first six Francis films (1950–55) were also directed by Lubin.[4]

text: Lubin wanted to make a Francis TV series but had been unable to secure the rights. However someone told him about Brooks' series of stories. He optioned these for TV.[5]

text: Comedian George Burns financed the original pilot for Mister Ed which was shot at his McCadden Studio in Hollywood at a cost of $70,000.[5] Scott McKay played Wilbur. Jack Benny was also involved behind the scenes.[6] Unable to sell the show to a network, Lubin decided to sell the show into syndication first. He managed to get single sponsor identification for the program on over 100 stations. The show was recast with Alan Young in the lead. Production began in November 1960, although Lubin did not direct early episodes because he was working in Europe on a film. The first 26 episodes were well received enough for the show to be picked up by CBS.[5][7]

text: Synopsis[edit]

text: The show in effect had two leads operating as a comedy team. The title role of Mister Ed, a talking palomino, was played by gelding Bamboo Harvester and voiced by former Western film actor Allan Lane. The role of Ed's owner, a genial but somewhat klutzy architect named Wilbur Post, was played by Alan Young. Many of the program's gags follow from Mister Ed's tendency to talk only to Wilbur, his skills as a troublemaker, and his precociously human-like behaviour that far exceeds anything those around Wilbur expect of a horse. A running gag is other characters hearing Wilbur talking to Ed and asking to whom he is talking. Another running gag centers on Wilbur being accident-prone and inadvertently causing harm to himself and others. According to Lubin, Young was chosen for the lead role because he "just seemed like the sort of guy a horse would talk to".[4]

text: The other main character throughout the series is Wilbur's generally tolerant young wife, Carol (Connie Hines). The Posts also have two sets of neighbors, to whom Ed delights in making Wilbur appear as eccentric as possible. They included the Addisons, Roger (Larry Keating) and his wife Kay (Edna Skinner), who both appeared from the pilot episode until Keating's death in 1963; thereafter, Skinner continued appearing as Kay, without mention of Roger's absence, until the neighbors were recast. During this period, Kay's brother Paul Fenton (Jack Albertson), who had made occasional appearances before, appears. Following the Addisons, the Posts' new neighbors were Col. Gordon Kirkwood, USAF (Ret.), Wilbur's former commanding officer (Leon Ames), and his wife Winnie (Florence MacMichael). They appeared on the series from 1963 to 1965.[2] In the final season, the Kirkwoods were phased out, while Carol's grumpy and uptight father, Mr. Higgins (Barry Kelley), who appeared occasionally throughout the entire series, apparently moved in with Wilbur and Carol during the final episodes. Wilbur and his father-in-law did not get along at all because Mr. Higgins loathed Wilbur, whose quirky eccentricity and klutzy, half-hearted attempts to be friendly always clashed with Mr. Higgins's emotionless and uptight personality. Carol's father never stopped trying to persuade her to divorce Wilbur, whom he often and openly referred to as a "kook" because of Wilbur's clumsiness. Alan Young performed double duty during the final season of the series, also directing nearly all episodes.

text: Ed's ability to talk was never explained, or ever contemplated much on the show. In the first episode, when Wilbur expresses an inability to understand the situation, Ed offers the show's only remark on the subject: "Don't try. It's bigger than both of us!"

text: The Posts resided at 17230 Valley Spring Road in the San Fernando Valley of Los Angeles.[8]

text: Cast[edit]

text:
Allan Lane as Mister Ed (voice only)
Alan Young as Wilbur Post
Connie Hines as Carol Post
Bamboo Harvester as Mister Ed (credited as "Himself", as was standard for non-human characters in Filmways productions)

text:
Larry Keating as Roger Addison (1961–63); Seasons 1–3
Edna Skinner as Kay Addison (1961–63); Seasons 1–4
Leon Ames as Gordon Kirkwood (1963–65); Seasons 4–5
Florence MacMichael as Winnie Kirkwood (1963–65); Seasons 4–5
Jack Albertson as Paul Fenton (occasionally 1961–63); Seasons 2–4
Barry Kelley as Carol's Father, Mr. Higgins (occasionally 1962–65, recurring 1965-66)

text: Guest stars[edit]

text: Several celebrity guest stars appeared as themselves during the course of the series:

text:
Mae West
Clint Eastwood in "Clint Eastwood Meets Mister Ed"[9]
George Burns
Zsa Zsa Gabor
Leo Durocher
Jon Provost
Sebastian Cabot
Jack LaLanne appeared in a cameo near the beginning of the "Psychoanalyst Show" episode of season 1, in which Ed is watching the exercise show.[10][11]

text: Other known performers appeared in character roles:

text:
Donna Douglas appeared in three episodes, first as the "Lady Godiva" model in "Busy Wife",[12][13] then as Blanche in "Ed the Jumper"[14] and later as Clint Eastwood's girlfriend in "Clint Eastwood Meets Mister Ed"[9]
Irene Ryan
Raymond Bailey
Alan Hale Jr.[14]
Neil Hamilton
Hayden Rorke
William Bendix
Sharon Tate

text: Episodes[edit]

text: Production notes[edit]

text: The original, unaired pilot for the series was titled "Wilbur Pope and Mister Ed" and featured an unrelated instrumental big-band theme (with footage of Studebaker Lark automobiles being driven underneath the opening credits). In the pilot, which used a script that was nearly identical to that which would be used on the series premiere, used a totally different cast. Scott McKay played the title part of Wilbur Pope (surname later changed to "Post" prior to the series making it to air) and Sandra White played the role of Wilbur's wife.

text: The first horse that played Mister Ed for the first, unaired pilot episode was a chestnut gelding.[15] The horse proved to be unruly and difficult to work with and was replaced with the horse named Bamboo Harvester (1949–1970), a crossbred gelding of American Saddlebred, Arabian and grade ancestry.[16] A second pilot episode was filmed and Bamboo Harvester remained with the series until its cancellation.

text: Making Ed "talk"[edit]

text: Mister Ed's producers left the talents that performed the title role uncredited. The show's credits listed Mister Ed as being played only by "Himself".

text: The voice actor for Ed's spoken lines was Allan "Rocky" Lane, a former B-movie cowboy star. Sheldon Allman provided Ed's singing voice in episodes; his solo line ("I am Mister Ed") at the close of the show's theme song was provided by its composer, Jay Livingston. Allan Lane was alluded to by the producers only as "an actor who prefers to remain nameless." After the show became a hit, Lane campaigned the producers for credit but never received it.

text: The horse Bamboo Harvester portrayed Ed throughout the run. Ed's stablemate, a quarterhorse named Pumpkin, also served as Bamboo Harvester's stunt double for the show. This horse later appeared again in the television series Green Acres.

text: Bamboo Harvester's trainer was Les Hilton. To create the impression that Ed was having a conversation, Hilton initially used a thread technique he had employed for Lubin's earlier Mule films; in time, though, this became unnecessary. As actor Alan Young recounted: "It was initially done by putting a piece of nylon thread in his mouth. But Ed actually learned to move his lips on cue when the trainer touched his hoof. In fact, he soon learned to do it when I stopped talking during a scene! Ed was very smart."[17]

text: Reports circulated during and after the show's run that the talking effect was achieved by crew members applying peanut butter to the horse's gums. Alan Young said in later interviews that he invented the story. "Al Simon and Arthur Lubin, the producers, suggested we keep the method [of making the horse appear to talk] a secret because they thought kids would be disappointed if they found out the technical details of how it was done, so I made up the peanut butter story, and everyone bought it."[17][18]

text: Young added that Bamboo Harvester saw trainer Les Hilton as the disciplinarian father figure. When scolded by Hilton for missing a cue, the horse would move to Young for comfort, treating the actor as a mother figure. Hilton told Young this was a positive development.[19]

text: Death[edit]

text: There are conflicting stories involving of the death of Bamboo Harvester, the horse that played Mister Ed.

text: Alan Young said he had frequently visited Harvester in retirement. He states that Bamboo Harvester died from an inadvertent tranquilizer administered while he was in a stable on Sparks Street in Burbank, California, where he lived with his trainer Lester Hilton. Young says Hilton was out of town visiting relatives, and a temporary caregiver might have seen Bamboo Harvester rolling on the ground, struggling to get up. Young said Harvester was a heavy horse, and he was not always strong enough to get back on his feet without struggling. The theory is, the caregiver thought the horse was in distress, administered a tranquilizer, and, for unknown reasons, the horse died within hours. The remains were cremated and scattered by Hilton in the Los Angeles area at a spot known only to him.[20]

text: Another story claims that by 1968 Bamboo Harvester suffering old age ailments and was euthanized in 1970, with no publicity, and buried at Snodgrass Farm in Tahlequah, Oklahoma.[21]

text: A third story claims that after Mr. Ed Bamboo Harvester's health was failing, that he suffered from arthritis and kidney problems, and had to be euthanized at the age of 19.[22]

text: A different horse who died in Oklahoma in February 1979 was widely thought to be Bamboo Harvester, but this horse was, in fact, a horse that posed for the still pictures of Mister Ed used by the production company for the show's press kits. This horse was unofficially known as "Mister Ed", which led to his being reported as such (including sardonic comments on Saturday Night Live's Weekend Update) following his own death.[23]

text: Theme song[edit]

text: The theme song, titled "Mister Ed", was written by the songwriting team of Jay Livingston and Ray Evans and sung by Livingston himself. The first seven episodes used only instrumental music to open the show; thereafter the version with lyrics was used. Livingston agreed to sing the song himself until a professional singer could be found; the producers liked the songwriter's vocals and kept them on the broadcast. During most of the show's run the ending theme song used only instrumental music. In some episodes, however, the theme song is sung during the closing credits.

text: The theme song received renewed publicity twenty years after the show went off the air when Jim Brown, a preacher from South Point, Ohio, claimed in May 1986 that it contained "satanic messages" if heard in reverse. Brown and his colleague Greg Hudson claimed that the phrases "Someone sung this song for Satan" and "the source is Satan" would be audible. At their behest teenagers burned over 300 records and cassettes of secular music with alleged satanic messages. The teens did not burn a copy of Television's Greatest Hits, but Brown asserted that "Satan can be an influence whether they [the songwriters] know it or not. We don't think they did it on purpose and we're not getting down on Mister Ed."[24]

text: Sponsorship[edit]

text: The series was sponsored from 1961 to 1963 by Studebaker-Packard Corporation and Studebaker Corporation.[25] At first, sponsorship came from Studebaker's dealer association, with corporate sponsorship coming from South Bend once the series had been picked up by CBS. Studebakers were featured prominently in the show during this period. The Posts are shown owning a 1962 Lark convertible, and the company used publicity shots featuring the Posts and Mister Ed with their product (various cast members also appeared in "integrated commercials" for Lark at the end of the program). When another Lark convertible served as the official pace car at the 1962 Indianapolis 500, Connie Hines attended the race as part of the promotion.

text: Studebaker's sales dropped dramatically in 1961 and, despite their exposure via sponsoring this program, never recovered. Studebaker ended U.S. motor vehicle production on December 20, 1963. Later, Studebaker's sponsorship and vehicle-supply agreement ended, and The Ford Motor Company provided the vehicles seen on-camera starting at the beginning of 1965. (Studebaker vehicle production ended in March 1966.)

text: DVD releases[edit]

text: MGM Home Entertainment released two Best-of collections of Mister Ed on DVD in Region 1. Volume 1 (released January 13, 2004) contains 21 episodes and Volume 2 (released March 8, 2005) contains 20 episodes. Due to poor sales,[26] further volumes were not released.

text: MGM also released a single-disc release entitled Mister Ed's Barnyard Favorites on July 26, 2005 which contains the first eight episodes featured on Volume One.

text: Shout! Factory announced in June 2009 that they had acquired the rights to release Mister Ed on DVD, and subsequently released the six seasons on DVD in Region 1 in the U.S. Notably, Seasons 4 and 5 are not available outside of the continental U.S. The sixth and final season was released on May 12, 2015.[27]

text: Syndicated versions of eight episodes were utilized for Season One DVD release. All other DVD releases contain unedited, full-length versions.[28]

text: One episode (the second-season episode "Ed the Beneficiary") has lapsed into the public domain. Also in the public domain is a 19-minute production of the United States Department of the Treasury, done in the style of a Mister Ed episode with the show's full cast (but without a laugh track), promoting Savings Bonds, and the original unaired pilot, which was published without a copyright notice.

text: On December 9, 2014, Shout! Factory released Mister Ed- Complete Series on DVD in Region 1.[29] The 22-disc set contains all 143 episodes of the series as well as bonus features.

text:
DVD Name
Ep #
Release Date

Season One/The Complete First Season
26
October 6, 2009

The Complete Second Season
26
February 2, 2010

The Complete Third Season
26
June 1, 2010

The Complete Fourth Season♦
26
November 16, 2010[30]

The Complete Fifth Season♦
26
June 21, 2011[31]

The Final Season/The Complete Sixth Season
13
May 12, 2015[32]

The Complete Series
143
December 9, 2014

text: ♦- Shout! Factory Exclusives title, sold exclusively through Shout's online store

text: Remakes[edit]

text: In 2004, a remake was planned for the Fox network, with Sherman Hemsley as the voice of Mister Ed, David Alan Basche as Wilbur, and Sherilyn Fenn as Carol.[33]

text: In 2012, Waterman Entertainment announced they were developing a new feature film based on Mister Ed.[34]

text: Legacy[edit]

text: A race horse named after the character in the television show took part in the 1994 Grand National steeplechase at Aintree, England but did not complete the course.

text: In 2007, it was reported that a housing developer intended to create a community near Tahlequah, Oklahoma, built around the supposed final resting place of Mister Ed (who died in 1970). It was intended to be themed to the style of the show and its period.[35]


document_title: A Bug's Life

question_text: name of caterpillar from a bug's life

question_tokens: name of caterpillar from a bug 's life

root

text: A Bug's Life

text: Plot[edit]

text: Ant Island is a colony of ants led by the Queen and her daughter, Princess Atta. Every season, they are forced to give food to a gang of marauding grasshoppers led by Hopper. One day, when Flik, an individualist and would-be inventor, inadvertently knocks the offering into a stream with his latest invention, a grain harvesting device, Hopper demands twice as much food as compensation. When Flik suggests in earnest that they seek help from other stronger bugs, the other ants see it as an opportunity to remove him and send him off.

tag: p

text: At the "bug city", which is a heap of trash under a trailer, the naïve Flik mistakes a troupe of Circus Bugs who were recently dismissed by their greedy ringmaster, P.T. Flea, for the warrior bugs he seeks. The bugs, in turn, mistake Flik for a talent agent and accept his offer to travel with him back to Ant Island. During a welcome ceremony upon their arrival, the Circus Bugs and Flik both discover their mutual misunderstandings. The Circus Bugs attempt to leave but are attacked by a bird; while fleeing, they save Dot, Atta's younger sister, gaining the ants' respect in the process. At Flik's request, they continue the ruse of being "warriors" so the troupe can continue to enjoy the hospitality of the ants. Hearing that Hopper fears birds inspires Flik to create a false bird to scare away the grasshoppers. Meanwhile, Hopper tells his gang how greatly the ants outnumber them and worries that they will eventually rebel against them.

text: The ants finish constructing the fake bird, but during a celebration, P.T. Flea arrives searching for his troupe and he inadvertently reveals their secret. Outraged by Flik's deception, the ants exile him and desperately gather food for a new offering to the grasshoppers. However, when Hopper returns to discover the mediocre offering, he takes over the island and demands the ants' winter food supply, planning to assassinate the Queen afterwards. Overhearing the plan, Dot informs Flik and the Circus Bugs and convinces them to return to Ant Island.

text: After rescuing the Queen, Flik deploys the bird; it initially fools the grasshoppers, but P.T. Flea, also mistaking it for a real bird, burns it, exposing it as a decoy. Hopper beats Flik in retaliation and says that the ants are humble and lowly life forms who live to serve the grasshoppers. However, Flik responds that Hopper actually fears the colony, because he has always known what they are capable of, inspiring the ants and the Circus Bugs to fight back against the grasshoppers. The ants attempt to force Hopper out of Ant Island using P.T. Flea’s circus cannon, but it suddenly begins to rain. In the ensuing chaos, Hopper frees himself from the cannon and flies off with Flik. After the Circus Bugs fail to catch them, Atta rescues Flik. As Hopper pursues them, Flik lures him to the nest of the bird he, Dot, and the Circus Bugs encountered earlier. Thinking that the bird is another decoy, Hopper taunts it before discovering it is real, and is captured and fed to its chicks.

text: Sometime later, Flik has improved his inventions and the quality of life for Ant Island, and Atta professes her love for him, and they give Hopper's younger brother Molt, and a few ants to P.T. Flea as new members of his troupe. Atta and Dot respectively become the new queen and princess. The ants congratulate Flik as a hero and bid a fond farewell to the circus troupe, who promise to return in the future.

text: Voice cast[edit]

text:
Dave Foley as Flik, an inventive, but mostly accident-prone, ant
Kevin Spacey as Hopper, the leader of the grasshopper gang
Julia Louis-Dreyfus as Princess Atta, the soon-to-be queen of the colony
Hayden Panettiere as Dot, Princess Atta's younger sister and initially Flik's only friend in the ant colony
Phyllis Diller as the Queen, the leader of the ant colony
Richard Kind as Molt, Hopper's dim-witted younger brother
David Hyde Pierce as Slim, a walking stick and Francis and Heimlich's friend
Joe Ranft as Heimlich, a plump, German-accented caterpillar that longs to be a butterfly
Denis Leary as Francis, a short-tempered ladybug that is constantly mistaken for a female
Jonathan Harris as Manny, a praying mantis and magician in P.T. Flea's circus
Madeline Kahn as Gypsy, a gypsy moth and Manny's beautiful wife and assistant
Bonnie Hunt as Rosie, a black widow spider and Dim's tamer
Michael McShane as Tuck and Roll, twin[5] pillbug brothers from Hungary
John Ratzenberger as P.T. Flea, the owner of the circus
Brad Garrett as Dim, a rhinoceros beetle that plays the "Ferocious Beast" in the circus act
Roddy McDowall as Mr. Soil, the lead thespian
Edie McClurg as Dr. Flora, the doctor of the ant colony
Alex Rocco as Thorny, Princess Atta's assistant
David Ossman as Cornelius, an elderly ant

tag: ul

text: Production[edit]

text: Development[edit]

text: During the summer of 1994, Pixar's story department began turning their thoughts to their next film.[6] The storyline for A Bug's Life originated from a lunchtime conversation between John Lasseter, Andrew Stanton, Pete Docter, and Joe Ranft, the studio's head story team; other films such as Monsters, Inc. and Finding Nemo were also conceived at this lunch.[7] Lasseter and his story team had already been drawn to the idea of insects serving as characters. Like toys, insects were within the reach of computer animation back then, due to their relatively simple surfaces. Stanton and Ranft wondered whether they could find a starting point in Aesop's fable The Ant and the Grasshopper.[7] Walt Disney had produced his own version with a cheerier ending decades earlier in the 1934 short film The Grasshopper and the Ants. In addition, Walt Disney Feature Animation had considered producing a film in the late-1980s entitled Army Ants, that centered around a pacifist ant living in a militaristic colony, but this never fully materialized.[8]

text: As Stanton and Ranft discussed the adaptation, they rattled off scenarios and storylines springing from their premise.[7] Lasseter liked the idea and offered some suggestions. The concept simmered until early 1995, when the story team began work on the second film in earnest.[7] During an early test screening for Toy Story in San Rafael in June 1995, they pitched the film to Disney CEO Michael Eisner. Eisner thought the idea was fine and they submitted a treatment to Disney in early-July under the title Bugs.[7] Disney approved the treatment and gave notice on July 7 that it was exercising the option of a second film under the original 1991 agreement between Disney and Pixar.[9] Lasseter assigned the co-director job to Stanton; both worked well together and had similar sensibilities. Lasseter had realized that working on a computer-animated feature as a sole director was dangerous while the production of Toy Story was in process.[9] In addition, Lasseter believed that it would relieve stress and that the role would groom Stanton for having his own position as a lead director.[10]

text: Writing[edit]

text: In The Ant and the Grasshopper, a grasshopper squanders the spring and summer months on singing while the ants put food away for the winter; when winter comes, the hungry grasshopper begs the ants for food, but the ants turn him away.[7] Andrew Stanton and Joe Ranft hit on the notion that the grasshopper could just take the food.[7][11] After Stanton had completed a draft of the script, he came to doubt one of the story's main pillars – that the Circus Bugs that had come to the colony to cheat the ants would instead stay and fight.[10] He thought the Circus Bugs were unlikable characters as liars and that it was unrealistic for them to undergo a complete personality change. Also, no particularly good reason existed for Circus Bugs to stay with the ant colony during the second act.[12] Although the film was already far along, Stanton concluded that the story needed a different approach.[10]

text: Stanton took one of the early circus bug characters, Red the red ant, and changed him into the character Flik.[12] The Circus Bugs, no longer out to cheat the colony, would be embroiled in a comic misunderstanding as to why Flik was recruiting them. Lasseter agreed with this new approach, and comedy writers Donald McEnery and Bob Shaw spent a few months working on further polishing with Stanton.[13] The characters "Tuck and Roll" were inspired by a drawing that Stanton did of two bugs fighting when he was in the second grade.[11] Lasseter had come to envision the film as an epic in the tradition of David Lean's 1962 film Lawrence of Arabia.[12][14]

text: Casting[edit]

text: The voice cast was heavy with television situation-comedy stars of the time: Flik was voiced by Dave Foley (from NewsRadio), Princess Atta was voiced by Julia Louis-Dreyfus (from Seinfeld), Molt was voiced by Richard Kind (from Spin City), Slim was voiced by David Hyde Pierce (from Frasier) and Dim was voiced by Brad Garrett (from Everybody Loves Raymond). Joe Ranft, member of Pixar's story team, played Heimlich the caterpillar at the suggestion of Lasseter's wife, Nancy, who had heard him playing the character on a scratch vocal track.[15]

text: The casting of Hopper, the film's villain, proved problematic. Lasseter's top choice was Robert De Niro, who repeatedly turned the part down, as did a succession of other actors.[15] Kevin Spacey met John Lasseter at the 1995 Academy Awards and Lasseter asked Spacey if he would be interested in doing the voice of Hopper. Spacey was delighted and signed on immediately.[12]

text: A Bug’s Life was the final film appearance of actor Roddy McDowell, who played Soil the ant, before passing away shortly before the film’s theatrical release.[16]

text: Art design and animation[edit]

text: It was more difficult for animators during the production of A Bug's Life than that of Toy Story, as computers ran sluggishly due to the complexity of the character models. Lasseter and Stanton had two supervising animators to assist with directing and reviewing the animation: Rich Quade and Glenn McQueen. The first sequence to be animated and rendered was the circus sequence that culminated with P.T. Flea's "Flaming Wall of Death". Lasseter placed this scene first in the pipeline because he believed it was "less likely to change".[17] Lasseter thought it would be useful to look at a view of the world from an insect's perspective. Two technicians obliged by creating a miniature video camera on Lego wheels, which they dubbed as the "Bugcam".[10][18] Fastened to the end of a stick, the Bugcam could roll through grass and other terrain and send back an insect's-eye outlook. Lasseter was intrigued by the way grass, leaves, and flower petals formed a translucent canopy, as if the insects were living under a stained-glass ceiling. The team also later sought inspiration from Microcosmos (1996), a French documentary on love and violence in the insect world.[10]

text: The transition from treatment to storyboards took on an extra layer of complexity due to the profusion of storylines. Where Toy Story focused heavily on Woody and Buzz, with the other toys serving mostly as sidekicks, A Bug's Life required in-depth storytelling for several major groups of characters.[13] Character design also presented a new challenge, in that the designers had to make ants appear likable. Although the animators and the art department studied insects more closely, natural realism would give way to the film's larger needs.[14] The team took out mandibles and designed the ants to stand upright, replacing their normal six legs with two arms and two legs. The grasshoppers, in contrast, received a pair of extra appendages to appear less attractive.[14] The story's scale also required software engineers to accommodate new demands. Among these was the need to handle shots with crowds of ants.[14] The film would include more than 400 such shots in the ant colony, some with as many as 800. It was impractical for animators to control them individually, but neither could the ants remain static for even a moment without appearing lifeless, or move identically. Bill Reeves, one of the film's two supervising technical directors, dealt with the quandary by leading the development of software for autonomous ants.[14] The animators would only animate four or five groups of about eight individual "universal ants". Each one of these "universal ants" would later be randomly distributed throughout the digital set. The program also allowed each ant to be automatically modified in subtle ways (e.g. different color of eye or skin, different heights, different weights, etc.). This ensured that no two ants were the same.[18] It was partly based on Reeves's invention of particle systems a decade and a half earlier, which had let animators use masses of self-guided particles to create effects like swirling dust and snow.[15]

text: The animators also employed subsurface scattering—developed by Pixar co-founder Edwin Catmull during his graduate student days at the University of Utah in the 1970s—to render surfaces in a more lifelike way. This would be the first time that subsurface scattering would be used in a Pixar film, and a small team at Pixar worked out the practical problems that kept it from working in animation. Catmull asked for a short film to test and showcase subsurface scattering and the result, Geri's Game (1997), was attached alongside A Bug's Life in its theatrical release.[19]

text: Controversy[edit]

text: During the production of A Bug's Life, a public feud erupted between DreamWorks' Jeffrey Katzenberg, and Pixar's Steve Jobs and John Lasseter. Katzenberg, former chairman of Disney's film division, had left the company in a bitter feud with CEO Michael Eisner. In response, he formed DreamWorks SKG with Steven Spielberg and David Geffen and planned to rival Disney in animation.[20] After DreamWorks' acquisition of Pacific Data Images (PDI)—long Pixar's contemporary in computer animation—Lasseter and others at Pixar were dismayed to learn from the trade papers that PDI's first project at DreamWorks would be another ant film, to be called Antz.[21] By this time, Pixar's project was well-known within the animation community.[22] Both Antz and A Bug's Life center on a young male, a drone with oddball tendencies that struggles to win a princess's hand by saving their society. Whereas A Bug's Life relied chiefly on visual gags, Antz was more verbal and revolved more around satire. The script of Antz was also heavy with adult references, whereas Pixar's film was more accessible to children.[23]

text: It was clear that Lasseter and Jobs believed that the idea was stolen by Katzenberg.[8][20] Katzenberg had stayed in touch with Lasseter after the acrimonious Disney split, often calling to check up. In October 1995, when Lasseter was overseeing postproduction work on Toy Story at the Universal lot's Technicolor facility in Universal City, where DreamWorks was also located, he called Katzenberg and dropped by with Stanton.[20][24] When Katzenberg asked what they were doing next, Lasseter described what would become A Bug's Life in detail. Lasseter respected Katzenberg's judgment and felt comfortable using him as a sounding board for creative ideas.[24] Lasseter had high hopes for Toy Story, and he was telling friends throughout the tight-knit computer-animation business to get cracking on their own films. "If this hits, it's going to be like space movies after Star Wars" for computer animation companies, he told various friends.[8] "I should have been wary," Lasseter later recalled. "Jeffrey kept asking questions about when it would be released."[20]

text: When the trades indicated production on Antz, Lasseter, feeling betrayed, called Katzenberg and asked him bluntly if it were true, who in turn asked him where he had heard the rumor. Lasseter asked again, and Katzenberg admitted it was true. Lasseter raised his voice and would not believe Katzenberg's story that a development director had pitched him the idea long ago. Katzenberg claimed Antz came from a 1991 story pitch by Tim Johnson that was related to Katzenberg in October 1994.[8] Another source gives Nina Jacobson, one of Katzenberg's executives, as the person responsible for the Antz pitch.[22] Lasseter, who normally did not use profane language, cursed at Katzenberg and hung up the phone.[25] Lasseter recalled that Katzenberg began explaining that Disney was "out to get him" and that he realized that he was just cannon fodder in Katzenberg's fight with Disney.[8][22] In truth, Katzenberg was the victim of a conspiracy: Eisner had decided not to pay him his contract-required bonus, convincing Disney's board not to give him anything.[22] Katzenberg was further angered by the fact that Eisner scheduled Bugs to open the same week as The Prince of Egypt, which was then intended to be DreamWorks' first animated release.[22][25] Lasseter grimly relayed the news to Pixar employees but kept morale high. Privately, Lasseter told other Pixar executives that he and Stanton felt terribly let down by Katzenberg.[22]

text: Katzenberg moved the opening of Antz from spring 1999 to October 1998 to compete with Pixar's release.[22][26] David Price writes in his 2008 book The Pixar Touch that a rumor, "never confirmed", was that Katzenberg had given PDI "rich financial incentives to induce them to whatever it would take to have Antz ready first, despite Pixar's head start".[22][25] Jobs was furious and called Katzenberg and began yelling. Katzenberg made an offer: He would delay production of Antz if Jobs and Disney would move A Bug’s Life so that it did not compete with The Prince of Egypt. Jobs believed it "a blatant extortion attempt" and would not go for it, explaining that there was nothing he could do to convince Disney to change the date.[8][25] Katzenberg casually responded that Jobs himself had taught him how to conduct similar business long ago, explaining that Jobs had come to Pixar's rescue by making the deal for Toy Story, as Pixar was near bankruptcy at that time.[15] "I was the one guy there for you back then, and now you're allowing them to use you to screw me," Katzenberg said.[25] He suggested that if Jobs wanted to, he could simply slow down production on A Bug's Life without telling Disney. If he did, Katzenberg said, he would put Antz on hold.[8] Lasseter also claimed Katzenberg had phoned him with the proposition, but Katzenberg denied these charges later.[17]

text: As the release dates for both films approached, Disney executives concluded that Pixar should keep silent on the DreamWorks battle. Regardless, Lasseter publicly dismissed Antz as a "schlock version" of A Bug's Life.[19] Lasseter, who claimed to have never seen Antz, told others that if DreamWorks and PDI had made the film about anything other than insects, he would have closed Pixar for the day so the entire company could go see it.[8][23] Jobs and Katzenberg would not back down and the rivaling ant films provoked a press frenzy. "The bad guys rarely win," Jobs told the Los Angeles Times. In response, DreamWorks' head of marketing Terry Press suggested, "Steve Jobs should take a pill."[25] Despite the successful box office performance of both Antz and A Bug's Life, tensions would remain high between Jobs and Katzenberg for many years. According to Jobs, Katzenberg came to Jobs after the success of Shrek (2001) and insisted he had never heard the pitch for A Bug's Life, reasoning that his settlement with Disney would have given him a share of the profits if that were so.[27] Although the contention left all parties estranged, Pixar and PDI employees kept up the old friendships that had arisen from spending a long time together in computer animation.[17]

text: Music[edit]

text:
A Bug's Life: An Original Walt Disney Records Soundtrack

Soundtrack album by Randy Newman

Released
October 27, 1998

Recorded
1998

Genre
Score

Length
47:32

Label
Walt Disney

Randy Newman chronology

Michael
(1996)Michael1996
A Bug's Life
(1998)
Pleasantville
(1998)Pleasantville1998

Pixar soundtrack chronology

Toy Story
(1995) Toy Story1995
A Bug's Life
(1998) A Bug's Life1998
Toy Story 2
(1999) Toy Story 21999

tag: table

text: The film's score was composed and conducted by Randy Newman. The soundtrack album was produced and released on October 27, 1998, by Walt Disney Records. The album's first track is a song called "The Time of Your Life" written and performed by Newman, while all the other 19 tracks are orchestral cues. The album is no longer manufactured into physical media, but is available for purchase on iTunes. The time duration is 47 minutes and 32 seconds.[28] Out of five stars, Allmusic,[29] Empire Online,[30] and Film Tracks rated the album three stars.[31] Movie Wave rated it four and a half.[32] The score won the Grammy Award for Best Instrumental Composition.[28]

text: Reception[edit]

text: Critical reception[edit]

text: On review aggregator Rotten Tomatoes the film has a rating of 92%, based on 85 reviews, with an average rating of 7.9/10. The site's critical consensus reads, "A Bug's Life is a rousing adventure that blends animated thrills with witty dialogue and memorable characters – and another smashing early success for Pixar."[33] Another review aggregator, Metacritic, gave the film a score of 77 out of 100, based on 23 critics, indicating "generally favorable reviews".[34]

text: Todd McCarthy of Variety gave the film a positive review, saying "Lasseter and Pixar broke new technical and aesthetic ground in the animation field with Toy Story, and here they surpass it in both scope and complexity of movement while telling a story that overlaps Antz in numerous ways."[35] James Berardinelli of ReelViews gave the film three and a half stars out of four, saying "A Bug's Life, like Toy Story, develops protagonists we can root for, and places them in the midst of a fast-moving, energetic adventure."[36] Roger Ebert of the Chicago Sun-Times gave the film three and a half stars out of four, saying "Will A Bug's Life suffer by coming out so soon after Antz? Not any more than one thriller hurts the chances for the next one. Antz may even help business for A Bug's Life by demonstrating how many dramatic and comedic possibilities can be found in an anthill."[37] Kenneth Turan of the Los Angeles Times gave the film four out of five stars, saying "What A Bug's Life demonstrates is that when it comes to bugs, the most fun ones to hang out with hang exclusively with the gang at Pixar."[38] Peter Stack of the San Francisco Chronicle gave the film four out of four stars, saying "A Bug's Life is one of the great movies – a triumph of storytelling and character development, and a whole new ballgame for computer animation. Pixar Animation Studios has raised the genre to an astonishing new level".[39]

text: Richard Corliss of Time gave the film a positive review, saying "The plot matures handsomely; the characters neatly converge and combust; the gags pay off with emotional resonance."[40] Owen Gleiberman of Entertainment Weekly gave the film a B, saying "A Bug's Life may be the single most amazing film I've ever seen that I couldn't fall in love with."[41] Paul Clinton of CNN gave the film a positive review, saying "A Bug's Life is a perfect movie for the holidays. It contains a great upbeat message ... it's wonderful to look at ... it's wildly inventive ... and it's entertaining for both adults and kids."[42] Michael Wilmington of the Chicago Tribune gave the film three and a half stars out of four, and compared the movie to "Akira Kurosawa's Seven Samurai (with a little of another art-film legend, Federico Fellini, tossed in)." where "As in Samurai, the colony here is plagued every year by the arrival of bandits."[43] On the contrary, Stephen Hunter of The Washington Post gave the film a negative review, saying "Clever as it is, the film lacks charm. One problem: too many bugs. Second, bigger world for two purposes: to feed birds and to irk humans."[44]

text: Box office[edit]

text: A Bug's Life grossed approximately $33,258,052 on its opening weekend, ranking number 1 for that weekend.[45] It managed to retain its number 1 spot for two weeks.[46][47] The film grossed $162.8 million in its United States theatrical run, covering its estimated production costs of $120 million. The film made $200,460,294 in foreign countries, pushing its worldwide gross to $363.3 million, surpassing the competition from DreamWorks Animation's Antz.[2]

text: Awards and honors[edit]

text: A Bug's Life won a number of awards and numerous nominations. The film won the Broadcast Film Critics Association Awards for Best Animated Film (tied with The Prince of Egypt) and Best Family Film, the Satellite Award for Best Animated Film and the Grammy Award for Best Instrumental Composition by Randy Newman. It was also nominated for the Academy Award for Best Original Musical or Comedy Score, the Golden Globe Award for Best Original Score and the BAFTA Award for Best Achievement in Special Visual Effects.[48] In 2008, the American Film Institute nominated this film for its Top 10 Animation Films list.[49]

text: Home media[edit]

text: A Bug's Life was the first ever home video release to be entirely created using a digital transfer, with every single frame of animation being readded from the film’s computer data as opposed to the standard analog film-to-videotape transfer process. This allowed for the film’s DVD release to retain its original 2:35:1 anamorphic widescreen format which it was presented with in movie theaters.[50] The DVD was released on DVD on April 20, 1999 alongside a VHS release which was presented in a standard 1:33:1 “fullscreen” format. The movie’s fullscreen transfer was performed by entirely “reframing” the film shot by shot; more than half of the film’s footage was modified by Pixar animators in order for them to fit within the film’s aspect ratio, with several characters and objects being moved closer together in order to avoid being cut out of frame.[50] The film’s VHS release was the best-selling VHS in the United Kingdom, with 1.76 million units sold by the end of the year.[51]

text: On August 1, 2000, the film was rereleased on VHS and DVD under the Walt Disney Gold Classic Collection banner.[52] On May 20, 2003, another DVD was released as a 2-disc Collector's Edition. This DVD was fully remastered and has substantial bonus features.[53][54]On May 19, 2009, the film was released on Blu-ray.[55]

text: Media and merchandise[edit]

text: Attached short film[edit]

text: The film's theatrical and video releases include Geri's Game, an Academy Award winning Pixar short made in 1997, a year before this film was released.[56]

text: Video game[edit]

text: A game, based on the film, was developed by Traveller's Tales and Tiertex Design Studios and released by Sony Computer Entertainment, Disney Interactive, THQ and Activision for various systems. The game's storyline was similar to the film's, with a few changes. However, unlike the film, the game received mixed to negative reviews.[57] Aggregating review website GameRankings gave the Nintendo 64 version 54.40%,[58] the PlayStation version 51.90%[59] and the Game Boy Color version 36.63%.[60] GameSpot gave the PlayStation version a 2.7/10, concluding that it was "obvious that Disney was more interested in producing a $40 advertisement for its movie than in developing a playable game."[61] IGN gave the Nintendo 64 version a 6.8/10, praising the presentation and sound by stating "It was upbeat, cheery look and feel very much like the movie of the same name with cheery, happy tunes and strong sound effects but again criticised the gameplay by saying the controls were sluggish with stuttering framerate and tired gameplay mechanics".[62] while they gave the PlayStation version a 4/10, criticizing the gameplay as slow and awkward but praising the presentation as cinematic.[63]

text: Theme park attractions[edit]

text: A Bug's Land is a section of Disney California Adventure that is inspired by A Bug's Life. One of the main attractions is the 3D show It's Tough to Be a Bug! which is also in Disney's Animal Kingdom. The Disney California Adventure nighttime show World of Color features a segment that includes Heimlich, the caterpillar from the film.[64]


document_title: BoJack Horseman

question_text: who sings the theme song for bojack horseman

text: BoJack Horseman

text: Premise[edit]

text: The series takes place mostly in the Los Angeles area, specifically, in Hollywood (later known as "Hollywoo" after the 'D' in the Hollywood Sign is stolen in a romantic gesture). In an alternate world where humans and tailless anthropomorphic animals live side by side, BoJack Horseman, the washed-up star of the 1990s Horsin' Around, plans his big return to celebrity relevance with a tell-all autobiography that he dictates to his ghostwriter Diane Nguyen. BoJack also has to contend with the demands of his agent and on-again-off-again girlfriend Princess Carolyn, the misguided antics of his freeloading roommate Todd Chavez, and his frenemy Mr. Peanutbutter, who is also Nguyen's boyfriend. The series satirizes Hollywood, celebrity culture, drug abuse, anxiety, depression and the effects of the entertainment industry in contemporary culture.

text: Cast and characters[edit]

text:
Will Arnett as BoJack Horseman, a self-loathing alcoholic horse currently in his 50s, whose acting career peaked when he starred in a successful '90s family sitcom called Horsin' Around. Though he began as a young bright-eyed actor, he has since grown bitter, deeply depressed, and jaded towards Hollywoo and who he has become post-fame. BoJack has been shown to be caring and insightful, but his insecurities, loneliness, and desperate need for approval often result in self-destructive actions that devastate those around him. Arnett also voices Butterscotch Horseman, BoJack's physically and verbally abusive father.
Alison Brie as Diane Nguyen, a human ghostwriter, a nice, well-reasoned, misunderstood intellectual, and a Vietnamese-American third-wave feminist from Boston who lives with her rich and famous boyfriend (and later husband), former sitcom star Mr. Peanutbutter. She's intelligent and sympathetic. While writing BoJack's memoir, he and Diane initially develop a strong friendship that becomes increasingly awkward and strained after BoJack develops romantic feelings for her. Diane travels to the war-torn Republic of Cordovia to make a difference, but discovers that this life is not for her. Ashamed of returning to her husband, she develops a severe bout of depression, during which she drinks heavily and sleeps disheveled on BoJack's patio furniture. She is able to reconcile her feelings with Mr. Peanutbutter and gets a job at VIM ghostwriting tweets for celebrities. She is subsequently fired from VIM, and is hired to write for a feminist blog.
Amy Sedaris as Princess Carolyn, a pink Persian cat who is BoJack's agent in the first three seasons and former on-and-off girlfriend. Earnest and unflagging, Princess Carolyn was a top agent at Vigor agency through her dogged pursuit of new talent and large network of odd personal connections. Though she struggles to find a balance between work, her troubled personal life, and taking care of BoJack and her friends, she enjoys her fast-paced hectic lifestyle. She left Vigor to start a new agency with her then-boyfriend and coworker Rutabaga Rabitowitz. After recognizing his lack of trustworthiness and confronting her fear of being alone, she ultimately decides to leave him and run the new company named VIM by herself. After several setbacks, Princess Carolyn closes VIM in Season 3, only to reopen it as a management agency.
Aaron Paul as Todd Chavez, an unemployed but well-meaning and friendly 24-year-old human slacker who ended up at BoJack's house for a party five years before the beginning of the series and never left. Although BoJack constantly voices disdain for him, he secretly cares about Todd, continuing to financially support him and sabotage his attempts to gain independence. Todd has been shown to possess a plethora of skills including an understanding of Japanese, entrepreneurial know-how, having allied with Mr. Peanutbutter for various business ideas, and writing and composing his own rock opera - Newtopia Rising, Book I: The Search for a New Utopia. His rock opera was eventually sabotaged by BoJack, who took advantage of his former addiction to video games. Todd puts the pieces together of what BoJack did string map style and begins to question his friendship with Bojack. Todd also has an uncanny knack for getting himself in absurd and extremely dangerous situations when his friends aren't around, such as getting into gun fights on several occasions, ending up in prison, and in one case switching places Prince and the Pauper-style with a Cordovian dictator. Todd's friendship with Mr. Peanutbutter landed him various jobs creating seemingly useless products. He sees the best in BoJack, despite his multitude of problems. He's usually happy, even when being insulted by BoJack. Catch Phrases include shouting "hooray!". He is also almost never seen without wearing his signature yellow beanie. In the 2000s he was an aimless skateboarder, and the object of affection of his schoolmate, Emily. It is revealed in the season 3 finale "That Went Well" that he is asexual.
Paul F. Tompkins as Mr. Peanutbutter, an energetic and cheerful yellow Labrador Retriever who is BoJack's former sitcom rival and Diane's boyfriend (and later husband). Mr. Peanutbutter was the star of Mr. Peanutbutter's House, which, according to BoJack, "borrowed the premise" from Horsin' Around. He had a stint at filming a celebrity reality show called Peanutbutter and Jelly. Despite their rivalry, Mr. Peanutbutter cares a great deal about BoJack's opinion and admires him for his work on Horsin' Around. He has an especially good relationship with Todd, and his positive attitude and financial resources combined with Todd's outlandish schemes and plans often result in the two starting questionable business ventures, such as a Halloween store that is exclusively open in January. In the episode "Let's Find Out", Mr. Peanutbutter starts hosting his own televised game show after his film company enters bankruptcy due to his and Todd's extensive expenditures on useless products. In "Hank After Dark", it is revealed that Mr. Peanutbutter was formerly married to a woman named Katrina who was emotionally abusive. His second wife was famous actress Jessica Biel, who is portrayed as being obsessed with her celebrity status and people recognizing her. He grew up in the Labrador Peninsula, which is depicted as being populated entirely by Labrador Retrievers. "Mr." is his actual first name. He is a graduate of Northwestern University.

text: Episodes[edit]

text:
Season
Episodes
Originally released

1
12
August 22, 2014

Special
December 19, 2014

2
12
July 17, 2015

3
12
July 22, 2016

4
12
September 8, 2017

text: Music[edit]

text: The main title theme was composed by Patrick Carney, drummer for the blues-rock duo The Black Keys with his uncle Ralph Carney. The main sound, starting at the beginning, is a Roland Jupiter-4 analog synthesizer triggered with a click track in ProTools. [7]

text: The ending credits theme "Back in the 90s (BoJack's Theme)" was performed by the indie-pop act Grouplove.[8] Jesse Novak composed the incidental music.[9]

text: In addition, the show featured Lyla Foy's song "Impossible" in the end credits of the seventh episode of the first season, the Death Grips song "No Love" in the eleventh episode of the first season, and the Rolling Stones song "Wild Horses" and Tegan and Sara's "Closer" in the season finale. The Courtney Barnett song "Avant Gardener" plays during the second season finale, and Nina Simone's cover of Janis Ian's "Stars" closed out the last episode of the third season. The show also features Oberhofer's song "Sea of Dreams" on the fourth episode of the third season, "Fish out of Water", and Magic Sword's "Infinite" on the fifth episode of the fourth season. Princess Carolyn's hold music is the song "Jellicle Songs for Jellicle Cats" from the musical Cats.

text: Soundtrack[edit]

text:
BoJack Horseman (Music From The Netflix Original Series)

Film score by Various Artists

Released
September 8, 2017 (Digital)
September 29, 2017 (CD)
December 8, 2017 (Vinyl)

Recorded
2013-2017

Genre
Pop, Alt. Rock, Electro hop, Soul, Ambient

Length
42:01

Label
Lakeshore Records

Producer
Jesse Novak & Andrew Gowan

text: The soundtrack for BoJack Horseman was released on Lakeshore Records on September 8, 2017, to coincide with the release of season 4. It includes several songs, amongst them the full version of the main theme, Patrick Carney and Michelle Branch's version of America's "A Horse with No Name", Sextina Aquafina's "Get Dat Fetus, Kill Dat Fetus", the themes from Horsin' Around and Mr. Peanutbutter's House, and the entire score for the episode "Fish Out of Water"[10].

text:
[show]Track listing

No.
Title
Writer(s)
Artist
Length

1.
"BoJack’s Theme"
Patrick Carney, Ralph Carney
Patrick Carney feat. Ralph Carney
0:56

2.
"Horsin’ Around"
Jesse Novak & Raphael Bob-Waksberg
Jesse Novak
0:44

3.
"A Horse with No Name"
Dewey Bunnell
Patrick Carney feat. Michelle Branch
4:35

4.
"Mr. Peanutbutter’s House Theme"
Jesse Novak
Jesse Novak
0:40

5.
"I Will Always Think of You"
Jesse Novak, David Corwin & Rachel Kaplan
Jane Krakowski & Colman Domingo
1:22

6.
"Get Dat Fetus Kill Dat Fetus"
Jesse Novak
Jesse Novak feat. Daniele Gaither & Manus Dunbar
1:30

7.
"Kyle and the Kids"
Jesse Novak
Jesse Novak feat. Carrick Moore Gerety
0:36

8.
"Stars" (Live at Montreux)
Janis Ian
Nina Simone
6:37

9.
"Back in the ’90s"
Christian Zucconi
Grouplove
0:43

10.
"BoJack’s Theme" (Full Length)
Patrick Carney, Ralph Carney
Patrick Carney feat. Ralph Carney
4:23

11.
"Seaport"
Jesse Novak
Jesse Novak
1:00

12.
"Hallway"
Jesse Novak
Jesse Novak
1:35

13.
"Kelsey Apology"
Jesse Novak
Jesse Novak
0:57

14.
"Chasing Kelsey"
Jesse Novak
Jesse Novak
1:42

15.
"Seahorse Birth"
Jesse Novak
Jesse Novak
0:47

16.
"Post Birth"
Jesse Novak
Jesse Novak
0:26

17.
"Baby Seahorse and Convenience Store"
Jesse Novak
Jesse Novak
2:29

18.
"Shark Chase"
Jesse Novak
Jesse Novak
0:34

19.
"Darkness and Tunnel"
Jesse Novak
Jesse Novak
0:54

20.
"Fan Section"
Jesse Novak
Jesse Novak
0:39

21.
"Factory"
Jesse Novak
Jesse Novak
1:58

22.
"Flying"
Jesse Novak
Jesse Novak
0:54

23.
"Seahorse Reunion"
Jesse Novak
Jesse Novak
0:49

24.
"Final Kelsey Pursuit"
Jesse Novak
Jesse Novak
0:28

25.
"Sea of Dreams"
Oberhofer
Oberhofer
4:43

text: Critical reception[edit]

text: Season 1[edit]

text:
Season
Critical response

Rotten Tomatoes
Metacritic

1
60% (20 reviews)
59 (13 reviews)

2
100% (17 reviews)
90 (7 reviews)

3
100% (21 reviews)
89 (12 reviews)

4
96% (24 reviews)
87 (5 reviews)

Average
89%
84

text: On the review aggregator Rotten Tomatoes the first season has an approval rating of 60%, based on 20 reviews.[2] On Metacritic, the season received a score of 59 out of 100, based on 13 critics, indicating "mixed or average reviews".[11] Erik Adams' review of the first six episodes gave the series a C+ grade; in the review, Adams wrote that the show "spoofs the emptiness of celebrity, but does so without any novelty or true insight".[12] At Slate, Willa Paskin was more enthused. "[It] is perhaps a little more clever than it is uproariously funny, but it is often very clever, and, moreover, well-tuned to the ludicrousness of the sort of low-level fame that surrounds BoJack". She likened it to 30 Rock in its ability to "[present] big ideas without having to commit to them".[13] Chris Mitchell from Popzara was equally optimistic about the show's future, saying that "Fans of FX's Archer or Fox's Bob's Burgers will definitely want to check this one out, as its rapid-fire delivery is always consciously spot-on".[14] The New York Times described the show as "hilarious and ribald".[15] Margaret Lyons of Vulture gave a positive review, describing it as "radically sad. I love it."[16]

text: The second half of the season, however, received much more positive reviews. Ben Travers of IndieWire believed one possible reason for mixed reviews of the show was critics reviewing only the first half of the season, with the second half changing drastically in tone and developing a darker and deeper meaning. This change was so drastic it resulted in IndieWire changing its policy to only review entire seasons of shows on Netflix, instead of just the first six episodes, which would have boosted BoJack Horseman's C+ grade.[17]

text: Season 2[edit]

text: The second season of the show received universal acclaim; on Rotten Tomatoes the second season holds an approval rating of 100%, based on 17 critics, [3] whilst on Metacritic, the season has a score of 90 out of 100, based on 7 critics.[18] Vox commented the show had "found its footing beautifully in season two, earning the title of not just the streaming service's best show, but of one of television's best shows".[19] Indiewire gave the series an A-, praising the depth of the show's storyline, the voice cast and the superior comedy in comparison to the first season.[20] The A.V. Club also gave the series an A-, commenting that "for the most part, it’s an entirely unique, funny, and melancholic exploration into the heart and mind of someone struggling to put his life back on track after a series of dark turns".[21] Slant Magazine awarded the series 4-and-a-half stars out of 5, commenting that "BoJack Horseman’s second season is an even more confident blend of the various tones it experimentally donned last year, as it’s simultaneously melancholic, angry, goofy, playful, and often uproariously funny in a distinctively ineffable what-the-fuck fashion".[22] Entertainment Weekly gave the series a B rating, stating it was "one of TV's best meta-skewers of Hollywood".[23]

text: Season 3[edit]

text: The third season of the show received universal acclaim; Rotten Tomatoes gives the third season an approval rating of 100%, based on 23 reviews.[24], whilst on Metacritic, the season received a score of 89 out of 100, based on 12 reviews.[25] The Hollywood Reporter lauded the series, commenting that the show "evolved from frothy talking-animal Hollywood satire to character-rich treatise on depression in its first season, deepened and darkened into one of TV's best shows in its second season and gallops into its third season with a profound confidence."[26] Entertainment Weekly gave the series an A rating, stating the season is "more digressive than the show’s first two years, and much more open-ended, sending core characters in different directions" and that it "builds to one of the funniest, weirdest, and most profound moments ever seen in a television show."[27] The A.V. Club awarded the series an A-, commenting that "Netflix has taken it upon itself to add BoJack to the line of TV’s famous antiheroes" and praising the show for improving with each series.[28] Collider gave the show 4/5 stars, stating "BoJack Horseman ends up becoming a thrilling, rueful study of the psychological games and uniquely vain, notably capitalistic decision-making that powers the entertainment industry". They went on to praise the show's humor; "through its venomous jokes and unrelenting, uproarious gags, the series also recognizes how charming, joyful, and galvanizing entertainment for entertainment sake can be, no matter how stupid or silly it may seem."[29]

text: Season 4[edit]

text: The fourth season of the show has received universal acclaim; Rotten Tomatoes gives the season an approval rating of 96%, based on 24 reviews,[30] while Metacritc awards the show a score of 87, based on 5 reviews.[31] Indiewire gave the series an A grade, commenting that "by the end of the season, we know these characters, and this show, far better than ever before. BoJack’s signature tropes--the background visual jokes, the animal puns, the brutal moments of sadness--remain reliably consistent, but turns the focus largely inward, ensuring that some of the more outlandish plots support and highlight the more emotional storylines".[32] The Washington Post lauded the series, praising the installment as "moving and unexpected" and that "it offers hope but never ignores the sorrows that are inevitable in real life".[33] The New York Times also gave a positive review, commenting that the "material has the snap and the poignancy we’ve grown accustomed to" and that "while nothing matches the adventurousness of Season 3’s underwater awards show episode, Season 4’s ninth episode — narrated from the future by a distant descendant of Princess Carolyn’s — is a devastating example of what “BoJack” can do at its best".[34]

text: Production and influences[edit]

text: Writer Raphael Bob-Waksberg has cited the cynical humor in the Canadian show The Newsroom as a large influence on BoJack Horseman. He also praised The Simpsons as an influence for being able to tell sad stories without sacrificing humor.[35]

text: Awards and nominations[edit]

text:
Year
Award
Category
Nominee(s)
Result
Ref.

2016
6th Critics' Choice Television Awards
Best Animated Series
BoJack Horseman
Won

Gold Derby Awards
Best Animated Series
BoJack Horseman
Won

43rd Annie Awards
Best General Audience Animated TV/Broadcast Production
"Brand New Couch"
Nominated

Writers Guild of America Award
Television: Animation
Kelly Galuska
Nominated

7th Critics' Choice Television Awards
Best Animated Series
BoJack Horseman
Won

Artios Awards
Outstanding Achievement in Casting - Television Animation
Linda Lamontagne
Nominated

2017
44th Annie Awards
Best General Audience Animated TV/Broadcast Production
"Fish Out Of Water"
Nominated

Outstanding Achievement, Voice Acting in an Animated TV Production
Alison Brie
Nominated

69th Writers Guild of America Awards
Television: Animation
Elijah Aron & Jordan Young
Nominated

Joe Lawson
Won

Artios Awards
Outstanding Achievement in Casting - Television Animation
Linda Lamontagne
Nominated

Annecy International Animated Film Festival
Special Distinction for a TV Series
"Fish Out Of Water"
Won
[36]

43rd Saturn Awards
Best Animated Series or Film on Television
BoJack Horseman
Nominated

69th Primetime Emmy Awards
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document_title: List of lakes of Manitoba

question_text: what is the name of the largest lake in manitoba

text: List of lakes of Manitoba

text: This is an incomplete list of lakes of Manitoba, a province of Canada.

text: Larger lake statistics[edit]

text: "The total area of a lake includes the area of islands. Lakes lying across provincial boundaries are listed in the province with the greater lake area."[1]

text:
Manitoba lakes larger than 400 km2 (150 sq mi)

Lake
Area (includes islands)
Altitude
Depth max.
Volume

Lake Winnipeg[2][3]
24,387 km2 (9,416 sq mi)
217 m (712 ft)
36 m (118 ft)
284 km3 (68 cu mi)

Lake Winnipegosis[2][3]
5,374 km2 (2,075 sq mi)
254 m (833 ft)
18.3 m (60 ft)
19.8 km3 (4.8 cu mi)

Lake Manitoba[2][3]
4,624 km2 (1,785 sq mi)
248 m (814 ft)
7 m (23 ft)
22.8 km3 (5.5 cu mi)

Southern Indian Lake[2][3]
2,247 km2 (868 sq mi)
254 m (833 ft)
30 m (98 ft)
23.4 km3 (5.6 cu mi)

Cedar Lake[2][3]
1,353 km2 (522 sq mi)
253 m (830 ft)
10 m (33 ft)
10.2 km3 (2.4 cu mi)

Island Lake[2][3]
1,223 km2 (472 sq mi)
227 m (745 ft)
59.4 m (195 ft)
21.8 km3 (5.2 cu mi)

Gods Lake[2][3]
1,151 km2 (444 sq mi)
178 m (584 ft)
75.3 m (247 ft)
13.8 km3 (3.3 cu mi)

Cross Lake[2][3]
755 km2 (292 sq mi)
207 m (679 ft)
12 m (39 ft)
0.52 km3 (0.12 cu mi)

Playgreen Lake[2][3]
657 km2 (254 sq mi)
217 m (712 ft)
18 m (59 ft)
2.76 km3 (0.66 cu mi)

Dauphin Lake[1][3]
519 km2 (200 sq mi)
260 m (850 ft)
3.4 m (11 ft)
1.29 km3 (0.31 cu mi)

Granville Lake[1]
490 km2 (190 sq mi)
258 m (846 ft)

Sipiwesk Lake[1]
454 km2 (175 sq mi)
183 m (600 ft)

Oxford Lake[1]
401 km2 (155 sq mi)
186 m (610 ft)

Molson Lake[1]
400 km2 (150 sq mi)
221 m (725 ft)

text: List of lakes[edit]

text:
A
B
C
D
E
F
G
H
I
J
K
L
M
N
O
P
Q
R
S
T
U
V
W
X
Y
Z

text:
See also
References

text: A[edit]

text:
Lake Agassiz
Alberts Lake
Assean Lake
Aswapiswanan Lake
Lake Athapapuskow

text: B[edit]

text:
Bernic Lake
Big Island Lake
Bolton Lake
Booster Lake
Boundary Lake
Lac Brochet
Bryan Lake
Buckland Lake
Bowden Lake

text: Beresford Lake

text: C[edit]

text:
Caddy Lake
Cedar Lake
Clearwater Lake
Cormorant Lake
Cross Lake

text: Clear Lake

text: D[edit]

text:
Dauphin Lake
Delta Marsh

text: Ditch Lake

text: E[edit]

text: Egenolf Lake

text: F[edit]

text: Falcon Lake

text: G[edit]

text: Gods Lake

text: H[edit]

text: Holt Lake

text: I[edit]

text: Island Lake

text: J

text: Joey Lake

text: K[edit]

text:
Kakat Lake
Kakwusis Lake
Kasmere Lake
Kipahigan Lake
Kiskitto Lake
Kiskittogisu Lake
Kississing Lake
Knee Lake

text: L[edit]

text:
Lake of the Woods
Lake St. Martin
Leo Lake
Limestone Lake
Little Bolton Lake
Little Limestone Lake
Lynx Lake
Liz Lake
Lonely Lake

text: M[edit]

text:
Mackie Lake
Manitoba memorial lakes
Lake Manitoba
Minnedosa Lake
Mitatut Lake
Molson Lake
Moose Lake
Munroe Lake
Murray Lake
Musketasonan Lake
Mid Lake

text: N[edit]

text:
Nao Lake
Naosap Lake
Naosap Mud Lake
Nejanalini Lake
Nelson Rapids
Neso Lake
Nesosap Lake
Nikotwasik Lake
Nisto Lake
Nistosap Lake
Niyanun Lake
Norman Mitchell Lake
Nueltin Lake

text: O[edit]

text:
Oak Hammock Marsh
Oxford Lake
Ospawagon Lake

text: P[edit]

text:
Payuk Lake
Payukosap Lake
Pekwachnamaykoskwaskwaypinwanik Lake
Pelican Lake
Persian Lake
Playgreen Lake
Putahow Lake
Paint Lake
Prime Lake

text: R[edit]

text:
Red Deer Lake
Red Sucker Lake
Reindeer Lake
Rock Lake
Rushforth Lake

text: S[edit]

text:
Schist Lake
Shellmouth Reservoir
Shoal Lakes
Sipiwesk Lake
Snowshoe Lake
Southern Indian Lake
Split Lake
Springer Lake
Stephens Lake
Stony Lake
Stupid Lake
Swan Lake
Setting Lake

text: T[edit]

text:
Tamarack Lake
Tapukok Lake
Thompson Lake
Toews Lake
Touchwood Lake

text: U[edit]

text:
Unruh Lake
Uyenanao Lake

text: V[edit]

text: Vermilyea Lake

text: W[edit]

text:
Lake Wahtopanah
Wargatie Lake
Waterhen Lake
Weir Lake
West Hawk Lake
Lake Winnipeg
Lake Winnipegosis