Wipe Out: When the BBC Kept Erasing Its Own History

Frank Barratt/Getty Images
Frank Barratt/Getty Images

When Sue Malden started working as an assistant researcher for the British Broadcasting Corporation (BBC) in the early 1970s, she imagined the broadcaster’s 20-plus year history of television was tucked away somewhere on shelves—a towering video library of cultural history from the Queen’s 1953 coronation to hundreds of episodes of Doctor Who.

But as Malden began to familiarize herself with the spare inventory of past programming, the reality was much different. “What I found was that there were many gaps,” Malden tells Mental Floss. “A lot of things just weren’t there.”

It would take years, but when Malden eventually assumed the post of Television Archive Selector in 1979, she had educated herself on the BBC’s stern and unsentimental methods for dealing with the bulk of their content. Because shows weren’t often repeated, there was no long-term need to retain them. And because videotape was an expensive storage medium at the time, it was far more sensible to reuse cassettes rather than buy new ones.

The company kept a bulk-erasure machine on hand to systematically wipe out shows that were believed to have exhausted their usefulness. Reams of paperwork indicated a large chunk of their content was rubber-stamped into destruction using just three words: “no further interest.”

As Malden tried to corral the wastefulness, she decided to use Doctor Who as a research guide to track the steps of how the BBC went from filming a series to ordering its demise.

Out of 253 produced episodes of Doctor Who, the BBC had not a single original copy left.

A stack of cassettes await trash pick-up
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For much of the 1950s, television in the UK was viewed in much the same way as the radio programming it was beginning to replace: Live newscasts, teleplays, and other series were intended to be consumed in the moment. If viewers really liked something, then it would be “repeated” by reassembling the actors and performing it for a second time.

“Television meant being live, over, and done with,” says Richard Molesworth, a BBC historian and author of Wiped!, a detailed chronicle of how the channel discarded a large chunk of Doctor Who history. “When videotape came about in the late 1950s, it wasn’t seen as a means of preservation or as an archival format," he tells Mental Floss. "It was in case a program was to be repeated in a short period of time—days or weeks.”

The two-inch tape adopted by the broadcaster beginning in 1958 was perceived as a way of getting a program on the air by having completed and edited footage ready for transmission. Across departments, there was virtually no incentive to treat those tapes as part of a long-term storage approach. In fact, it was the opposite: Because tapes often came out of a show’s budget, wiping old episodes and reusing them saved money. Barely any episodes from the entire first season of The Avengers, for example, are believed to have survived; Z Cars, a popular cop drama, was also snuffed out.

The lone motivation for not disposing of content immediately was the potential for overseas sales, a lucrative enterprise that allowed the BBC to capitalize on its inventory in foreign markets. But once BBC Enterprises—the arm responsible for dealing with those markets—struck a 16mm print of a taped show (which guaranteed compatibility, as video formats differed) and sent the film to the buyer, there was no reason to retain the tape. By the time BBC 2 debuted in 1964, virtually doubling the amount of content being produced, the order to “wipe” shows by deleting them in the bulk-erasure unit reached an all-time high. Unlike the U.S., with its many fractured local affiliates, there weren’t multiple copies of shows to ensure their continued survival. If the BBC scrapped it, it was likely scrapped for good.

Producers, Molesworth says, tried to resist the extinguishing of their media. Dudley Moore and Peter Cook tried to pay out of pocket to make certain their series, Not Only... But Also, remained in existence. They were turned down. (Monty Python experienced a similar incident, fearing they’d be wiped, but Monty Python's Flying Circus was too pervasive in America for that to have happened.)

When tapes would begin to pile up in dressing rooms, corridors, and other areas, it became an untenable situation. “New productions would need tape, and no one would want to spend money on new tape,” Molesworth says. “Not when there was perfectly good tape sitting right there.”

When the BBC began issuing color television licenses to viewers in 1969—a fee that essentially amounted to a donation for programming—the problem grew malignant. There was now even less incentive to keep black-and-white programming for either local consumption or to sell abroad. And when series were sold off, buyers typically had to adhere to the BBC’s “burn or return” policy. If the film wasn’t returned after the contracted number of airings, it was to be incinerated, with a “certificate of destruction” returned to the UK.

While the practice would later be vilified as a kind of cultural vandalism, there was no malice on the part of employees. For most of the programming, talent contracts prohibited more than one or two airings; relying on public funds for support meant tight budgets. No one really considered the programs could have a life decades into the future. “Had they kept those tapes, and newspapers found out they were sitting on hundreds or thousands of hours of programs they couldn’t show, they’d be accused of wasting public money,” Dick Fiddy, a consultant to the British Film Institute (BFI), tells Mental Floss. “What they did was good housekeeping.”

By Molesworth’s estimate, 60 to 70 percent of all BBC programming produced between the mid-1950s and mid-1970s was deleted. It was an amazing number of casualties, but the bleeding would soon halt thanks to several factors.

Around 1975, control of managing tapes went from the Engineering Department to the BBC Film Library, which was soon renamed the BBC Film and Television Library. There, archivists were not motivated by budget to keep programs shelved. At the same time, newspaper articles began to point out that the BBC had been rather mercenary in their approach to archival material. As the VHS revolution was just starting and people with home recording units were able to preserve programming, they found it unsatisfactory that the broadcaster itself wasn’t retaining content.

Financially, the latter was beginning to make a lot more sense. Exports like Monty Python’s Flying Circus, sold to American public television affiliates, were becoming profitable, and actor’s equity had eased demands on payments for repeats. That, coupled with the lowered cost of storage and the increased revenue from selling color TV licenses to viewers, led to a paradigm shift. According to Malden, however, it took some time to convince employees.

“I remember going around to heads of production departments and explaining what we wanted to do, which was keep everything,” Malden says. “And sometimes I’d hear, ‘Well, OK, but this episode wasn’t a writer’s or actor’s best work.’ I’d have to say, ‘No, look, it’s all the output.'" The engineering department, once tasked with exploiting every inch of tape it could, looked at Malden’s approach with puzzlement. “They basically asked, ‘Why on Earth do you want to keep all of this?’”

Once Malden felt confident the current crop of programming wasn’t going to be obliterated, she began looking to see if the gaps in the archive could somehow be restored. “A lot of programming went out live in the 1950s and 1960s, so there was never any recording to lose,” she says. “It was better to look at an iconic series, see how many were broadcast, see how many exist, and what happened to the rest.”


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Doctor Who was an easy choice. Debuting in 1963, the low-budget series about a time-traveling alien who could regenerate to explain his repeated recasting had become a cultural institution that was still on the air. (And would remain so until 1989, at which point it took a 16-year break before resuming in its current incarnation.) Malden found just 57 episodes out of the 253 produced through that time scattered throughout the BBC's various departments. Some had even been earmarked for destruction when Malden was still in the process of staying their executions.

To try and restore the BBC’s past, Malden and other historians had a remarkable resource: the foreign territories where the BBC had sold off several programs. Some didn’t bother either returning or destroying the 16mm film reels they had been supplied with. In writing to these stations, Malden discovered episodes of Doctor Who and other material that had survived the intervening years as a discarded and forgotten canister in a storage room. In other instances, various BBC departments had retained Doctor Who episodes after they had been returned by buyers. By 1981, Malden wound up securing 116 of the 253 episodes.

The BBC, however, had no official staff devoted to repossessing content. That fell in some measure to Malden, who effectively managed to assemble a small group of volunteers when a 1981 magazine article publicized the large chunk of missing Doctor Who episodes. “I started getting lots of letters from fans, saying ‘There might be a copy here,’” she says. “That gave me a lot of leads to work with.”

At the same time, a Who fan named Ian Levine had approached the BBC looking to buy original copies of episodes for his own private collection. He was introduced to Malden, and together they found a number of crucial episodes throughout the 1980s.

In 1983, a Mormon Church in London was cleaning out its basement when several BBC film cans, including two episodes of Doctor Who, were discovered among the clutter. In 1985, Levine found several episodes idling in a Nigerian television station. Two more episodes were returned to the BBC after being found at a yard sale. On a few occasions, Malden was able to retrieve episodes that had been seized by BBC employees simply because they were fans of the show.

Eventually, the idea of writing or faxing foreign TV stations to find episodes slowed to diminishing returns. (An Iranian station, asked to look for content, responded with incredulity. According to Wiped!, they wrote back asking, “In the name of Allah, what are you talking about?”) That paved the way for television archaeologists to try to physically locate missing prints.

A company called Kaleidoscope worked with both the BBC and the BFI to scout yard sales and private collections for material. In 2011, a footage hunter named Philip Morris located nine missing episodes of Doctor Who in Jos, Nigeria, where employees had ignored instructions to burn them. His company, Television International Enterprises Archives, seeks to “repatriate” old British television from foreign sources.

A film canister sits on the ground
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Although fans of Doctor Who have virtually guaranteed that the most zealous searches will be reserved for the remaining 97 episodes of the series that are still missing, the BBC doesn’t play favorites when it comes to accepting lost programs. Dozens of old television plays, including one titled Colombe featuring Sean Connery, were recovered from the Library of Congress in 2011 because they had been acquired for public broadcast in the States; Fiddy organizes a semiannual event called "Missing Believed Wiped," which celebrates recovered material of every stripe. Recent screenings have included a film directed by a young Ridley Scott, a previously thought-to-be-lost episode from the first season of The Avengers, and footage of Woody Allen boxing a kangaroo. A 1967 show titled At Last the 1948 Show featuring Graham Chapman and John Cleese was discovered in 2013 and is considered a precursor to Monty Python; it went unseen for nearly 50 years. Fiddy located them from a producer who had filmed the television screen with a 16mm camera.

“It’s sort of a return to the way television used to be viewed,” Fiddy says of his media festival. “The only thing that links the material together is that it’s been rediscovered. People will stay and watch things they wouldn’t otherwise.”

How much more undiscovered material is out there is open to debate. Malden and Molesworth believe that overseas stations have probably been exhausted for material, and enough press has been devoted to the search for Doctor Who episodes over the decades that any private collectors have likely already come forward. But Morris thinks there’s more to be unearthed in the Middle East and Africa; Fiddy continues to have enough material for his screenings, with bits and pieces of the BBC’s history rematerializing all the time.

“We want to find things for cultural value, for what it tells us about the past,” he says. “The more witnesses you’ve got, the more accurate you can be.” Fiddy’s holy grail of sorts remains Madhouse on Castle Street, a 1963 film starring Bob Dylan.

Today, it’s inconceivable HBO would scrap a Game of Thrones episode after two airings. But 50 years ago, television was simply a diversion that wasn’t supposed to endure. “Television is such an important part of reflecting our society,” Malden says. “I don’t think we should ever give up looking.”

Additional Sources: Wiped! Doctor Who’s Missing Episodes

8 Surprising Facts About Paul Newman

Hulton Archive/Getty Images
Hulton Archive/Getty Images

With roles as varied as pool shark “Fast” Eddie Felson in 1961’s The Hustler (and 1986's The Color of Money) and alcoholic lawyer Frank Galvin in 1982’s The Verdict, Paul Newman never conformed to type. The versatile actor spent decades as a movie star, auto racer, and part-time salad dressing pitchman. In honor of what would have been Newman’s 95th birthday on January 26, 2020, take a look at some lesser-known details of the performer’s life and career.

1. Paul Newman originally wanted to be a football player.

Born in Cleveland and raised in Shaker Heights, Ohio, Paul Newman was the offspring of Arthur, a sporting goods store owner, and Teresa, whose love of theater eventually proved contagious. But Newman originally had his sights set on a sports career. He played football in high school and college before enlisting in the U.S. Navy Air Corps, where he served as a radio operator (as he was ineligible to be a pilot due to being colorblind).

When Newman returned home in 1946, he attended Kenyon College in Gambier, Ohio on a football scholarship. After getting arrested for fighting and being kicked off the team, Newman decided to shift his major to theater. He eventually wound up in summer stock and then the Yale School of Drama before heading off to be a full-time actor in New York.

2. Paul Newman thought his first film was the worst movie ever made.

After stints on stage and in television, including roles in Playhouse 90, Newman was offered the starring role in 1954’s The Silver Chalice, about a Greek slave who crafts the cup used during the Last Supper. While the $1000 weekly salary was welcome, the film was not. Newman later asked friends to sit through it while drubbing it as the worst film ever made. He had better luck two years later when he played boxer Rocky Graziano in Somebody Up There Likes Me (1956). In 1958, Newman earned his first of 10 Academy Award nominations for Cat on a Hot Tin Roof.

3. Paul Newman was often mistaken for Marlon Brando.

Paul Newman and Joanne Woodward standing outdoors, circa 1962
Paul Newman and wife Joanne Woodward, circa 1962.
Hulton Archive/Getty Images

Early in their respective careers, Newman was regularly approached by people who thought he was Marlon Brando. Rather than correct them, he would oblige their request for an autograph by signing, “Best Wishes, Marlon Brando.”

4. Paul Newman frequently enjoyed faking his own death.

Newman, who was described by most who knew him as an affable man, had a mischievous streak that often manifested in practical jokes on his directors. A frequent target was George Roy Hill, who directed Newman in 1969’s Butch Cassidy and the Sundance Kid, 1973’s The Sting, and 1977’s Slap Shot. Newman cut Hill’s desk and car in half during filming of the first two films. While making Slap Shot, he crawled behind the wheel of a wrecked car and pretended he had been in an accident, much to Hill’s horror.

While making 1960’s Exodus, Newman pranked director Otto Preminger by tossing a dummy off a building knowing Preminger would think it was him: Preminger collapsed in shock. He repeated the joke during shooting of 1973’s The MacKintosh Man, tossing another dummy off a 60-foot building in front of director John Huston.

5. A movie introduced Paul Newman to racing.

It was starring in the 1969 racing film Winning that led Newman down a path of competitive racing in his private life. In 1972, Newman started driving on an amateur level before winning his first professional race in 1982. At age 70, he was part of the winning team in the 1995 Daytona 24-Hours sports car endurance race and continued to drive through 2005. The hobby was one of the few things that could get Newman, who was notoriously press-shy, to open up to media. “I’ll always talk about racing because the people are interesting and fun, the sport is a lot more exciting than anything else I do, and nobody cares that I’m an actor,” Newman said. “I wish I could spend all my time at the racetrack.”

6. Richard Nixon considered Paul Newman an enemy.

Actor Paul Newman is pictured in Venice, Italy in 1963
Archivio Cameraphoto Epoche/Getty Images

President Richard Nixon, who was no stranger to controversy, liked to keep tabs on people he considered volatile and in opposition to his politics. While that normally included political figures, his “enemies list” also included Newman. The actor earned the honor by supporting 1968 presidential candidate Hubert Humphrey and being an outspoken critic of the Vietnam War. Oddly, Newman and Nixon had some personal history: Both men shared use of a Jaguar on loan from an automobile dealer. When Newman learned that Nixon was driving the car during part of the week, he left a note saying Nixon should find no trouble operating a car with a “tricky clutch,” a nod to Nixon’s “Tricky Dick” nickname. When Nixon gathered his list of rivals in 1971, Newman’s name was on it. The actor later got a copy and had it framed.

7. Martha Stewart helped put Paul Newman’s salad dressing on the map.

Today it's not uncommon for major actors to lend their images to food and alcoholic beverages. In the early 1980s, it was unusual, though Newman wasn’t looking to make history—only salad dressing. The actor enjoyed mixing an oil and vinegar blend and giving it out to friends and family around the holidays. With friend A.E. Hotchner, Newman bottled a batch and dispensed it over the 1980 Christmas season. Martha Stewart, who was then a caterer, was living in Newman's neighborhood at the time and reported a blind taste test was in favor of the dressing. Newman agreed to put his face on the bottle and call it Newman’s Own. The dressing and the foods to come—including spaghetti sauce—generated profits that Newman donated entirely to charity. As of 2015, the company has delivered an estimated $430 million to charitable causes.

8. Paul Newman once offered part of his salary to a co-star.

While making the 1998 film Twilight with Gene Hackman and Susan Sarandon, Newman was surprised to discover that both he and Hackman were making considerably more than Sarandon, despite all three receiving equal billing. Sarandon told the BBC in 2018 that Newman then offered to give up a portion of his salary to make things equitable.

17 Animated Facts About BoJack Horseman

Netflix
Netflix

BoJack Horseman, which is getting ready to debut its final episodes on Netflix at the end of January, surprised viewers and critics with its gradual dive into the depression of an anthropomorphic horse that used to be the star of a banal, early 1990s, TGIF-type sitcom. On the series, the town of Hollywoo is made up of both humans and talking animals full of hopes, dreams, and regrets.

Will Arnett stars as the voice of the titular equine who, at the beginning of season 3, is faced with the consequences of getting what he wants: legitimate acting recognition for playing the lead in a movie about his hero, Secretariat. Breaking Bad star Aaron Paul plays BoJack's human roommate, Todd; Amy Sedaris stars as BoJack's agent, Princess Carolyn; and Alison Brie portrays BoJack's ghostwriter, Diane Nguyen.

1. BoJack Horseman’s creator and production designer have been friends since high school.

NEW YORK, NEW YORK - MAY 01: Lisa Hanawalt and Raphael Bob-Waksberg attend the after party for Netflix's "Tuca & Bertie" Tribeca Film Festival Premiere at American Cut Tribeca on May 01, 2019
Lisa Hanawalt and Raphael Bob-Waksberg attend the 2019 Tribeca Film Festival.
Astrid Stawiarz/Getty Images for Netflix

BoJack Horseman creator Raphael Bob-Waksberg and production designer/producer Lisa Hanawalt met in a high school theater class, coming up with ideas for TV shows. Even while still in high school, Bob-Waksberg had anthropomorphism on the brain. It was there that he wrote a play about a boy with udders who just wanted to fit in. While the two were in college, they teamed up to make a web comic titled Tip Me Over, Pour Me Out.

Years later, while Hanawalt was becoming a regular James Beard Award finalist for her illustration collections of characters with animal heads on human bodies, Bob-Waksberg was living like his future creation Todd: In a small bedroom "that was more of a closet" in a big beautiful Hollywood Hills house formerly owned by Johnny Depp. It gave him the idea of coming up with a character "who had every success he could have wanted and still couldn't find a way to be happy," someone who felt "simultaneously on top of the world and so isolated and alone."

Since the two had always wanted to collaborate on a television project, Bob-Waksberg proposed combining his feeling of isolation with Hanawalt's drawings.

2. Some BoJack Horseman characters are modeled on Raphael Bob-Waksberg and Lisa Hanawalt’s former classmates.

One day Bob-Waksberg asked Hanawalt, “Oh, do you remember that girl who was in our English class senior year of high school? Draw her, but as a dolphin.” Sextina Aquafina, singer of "My C*itoris is Gynormous," was born.

3. None of BoJack Horseman’s characters have tails.

A still from 'BoJack Horseman'
Netflix

Despite the fact that about half of the characters in the BoJack Horseman universe are animals, none of them have tails. That’s a decision production designer and co-producer Hanawalt made early on. "I’ve drawn a couple animal people with tails in my personal work, but it makes more sense to draw them without, and I’m not sure why,” she told Business Insider in 2015.

The only minor exception is in the season 2 episode “Escape From L.A.,” which features a scorpion—with its trademark stinger—as a prom DJ.

“So he’s got this big tail thing, but I rationalize it by saying it’s coming out of his upper back,” Hanawalt told Business Insider.

4. Michael Eisner signed off on BoJack Horseman.

Former Disney CEO Michael Eisner's Tornante Company agreed to produce the BoJack concept and sold it to Netflix. After a nervous and inexperienced Bob-Waksberg pitched the show to Eisner himself, Eisner expressed reluctance about putting another series satirizing show business on the air. Once Bob-Waksberg talked about why it was still interesting to him, Eisner agreed to just let him do it his way.

5. BoJack himself was fairly easy to come up with.

Bob-Waksberg doesn't remember where he got the name of his protagonist. "BoJack just sounded like a horse name to me," he said. "I don't know where I heard it or how I came up with it."

Hanawalt claimed that BoJack Horseman was one of the easiest characters to design, quickly picturing the sweater, the shoes, and his grumpy expression as soon as Bob-Waksberg described him to her.

6. BoJack Horseman's human characters were the hardest to create.

For Hanawalt, Diane and Todd were the hardest characters to create. "Humans are generally much trickier to draw because we’re so used to looking at and analyzing human faces," she said. "The slightest tweak makes a huge difference in how we perceive that character. Todd went through dozens of variations before we got him right, and then we changed him even more."

7. Todd Chavez is one of the first openly asexual characters on television.

Aaron Paul as Todd in 'BoJack Horseman'
Aaron Paul voices Todd Chavez in BoJack Horseman.
Netflix

Todd Chavez is one of very few television characters to use the word asexual to refer to himself, a development some critics have described as revolutionary. Other television characters who openly identify as asexual include Brad, a background character in Faking It; Valentina “Voodoo” Dunacci in Sirens; Lord Varys on Game of Thrones; and Florence, a minor character in Netflix’s Sex Education.

8. Lisa Hanawalt takes inspiration from real-life fashion to design clothing for BoJack Horseman’s characters.

“I’ll often reference celebrities,” Hanawalt told Racked in 2017 of how she comes up with character's outfits. “Like Jessica Biel, who’s actually on the show—she has the best street style, so I look at what she wears a lot. There was this leather army green one-sleeved mini dress she wore that I definitely put on a character. And I recently drew a dress that Constance Wu wore to the Critics’ Choice Awards; I love her.”

Once, Hanawalt even put Princess Carolyn in the mint green Gucci dress Katy Perry wore to the 2013 Grammy Awards. To draw the characters who work at the fictional Manatee Fair, she turned to Prada for inspiration.

“That was crazy fun to draw, and I liked that they’re the opposite of model body types,” she told Racked. “It was fun to take runway fashions and put them on manatees!”

9. Yes, that was really Sir Paul McCartney's voice you heard on BoJack Horseman.

Not every celebrity agrees to do a voice on the show—after a writer on the show "poured his heart out" to Cameron Crowe, Crowe was still too busy to voice the raven named Cameron Crowe. In season 1, the show still managed to snag J.K. Simmons to play the tortoise Lennie Turtletaub and Naomi Watts to portray herself. More celebrities followed; an unnamed guest actor told Bob-Waksberg, "Well, I guess if Naomi Watts is willing to make a fool of herself like this, I can too."

For the season 2 episode "After the Party," the show managed to get the former Beatle after some "tenacity" from the casting director Linda Lamontagne. McCartney recorded his lines in New York, with Bob-Waksberg instructing him from the studio in Los Angeles. The BoJack creator didn't know McCartney was going to do it until five minutes beforehand, when an executive producer called his cell while he was waiting to pick up a smoothie.

If he didn't do the voice, Kevin Bigley would have done an impression of Michael Bublé to end the installment.

10. Margo Martindale didn't know BoJack Horseman involved animals until after a table read.

Margo Martindale's The Millers co-star Will Arnett insisted that Martindale had to appear on his animated show. After she said she didn't want to do a cartoon, Arnett explained, "You have to do it—the part is Character Actress Margo Martindale." The day after her first BoJack table read, Martindale approached Arnett on The Millers set to tell him how much fun she had had, and how Mr. Peanutbutter oddly has a lot of doglike qualities.

Unfortunately, after Martindale was sent to jail on BoJack Horseman, her husband discovered that someone updated her real-life Wikipedia page to read that she spent the last year in prison for armed robbery. “This is what your cartoon’s done for me,” Martindale told Arnett.

11. Some actors do double or triple voice duty on BoJack Horseman.

Arnett voices both BoJack and his father, Butterscotch Horseman. Alison Brie portrays Diane Nguyen, "Vincent Adultman," and Joelle Clarke. Even Bob-Waksberg gets into the voice acting as tree frog assistant-turned-agent Charley Witherspoon.

12. BoJack Horseman’s writers love giving Amy Sedaris complicated tongue twisters.

Amy Sedaris’s character Princess Carolyn is often saddled with complex tongue twisters because the actress “hates them,” according to a Yahoo! interview with Bob-Waksberg. “She’s so annoyed,” he said “There’s a fun friction that comes out of her saying these words. Where you can almost get the sense that she doesn’t want to, but she has to, which gives it a fun charge.”

The writing team is fond of creating characters specifically for the purpose of inserting them into increasingly ridiculous word avalanches. In season 4, Amy Sedaris had several lines revolving around the fictional actress Courtney Portnoy, who portrayed “the formerly portly consort in The Seaport Resort” and “the thorny horticulturist in One Sordid Fortnight with a Short-Skirted Sorceress.”

“I enjoy doing it, and I enjoy making Amy do it,” Bob-Waksberg told Yahoo! “I think she secretly enjoys it too, even though she complains.”

13. BoJack Horseman’s running Zoe or Zelda gag was based off of a Tia and Tamera observation.

"The Zoe/Zelda thing in season one came from a Tia and Tamera observation I've had for a while," Bob-Waksberg admitted. Back in 2010, he wrote on his Tumblr that he was a Tia, despite his many Tamera qualities, and later that he was a Zoe with some very Zelda qualities.

14. Some of BoJack Horseman’s jokes take entire seasons to build.

While the mulch joke was a variation of a joke Bob-Waksberg knew for years, and the movie-star speech Rutabaga Rabbitowitz gives Princess Carolyn is something he had told to heartbroken friends before, the Marisa Tomei sneezing picture took the entire first season to come together in the writers room.

"In season 1, we were working on some episode and we knew there was some story on BoJack sneezing on Marisa Tomei that we had set up, and elsewhere, we had set up that there was a sneezing picture that BoJack hates, but everyone uses when they talk about BoJack," he explained. "It wasn’t until episode 11 that we realized, 'What if the sneezing picture is the picture of him sneezing on Marisa Tomei?' We went back to episode 2 and changed the picture and had a flashback in episode 11."

Some story arcs were invented in the writers room, like the paparazzi birds, Todd's rock opera, and the progression of Mr. Peanutbutter and Diane's relationship. Going to Boston, the Herb Kazzaz storyline, the drug trip episode, and BoJack cornering Diane at Ghostwritercon were all Bob-Waksberg's initial pitch to Netflix.

15. One BoJack Horseman episode was based off of an unused Curb Your Enthusiasm script.

"Let's Find Out" was based off of a Curb Your Enthusiasm spec script by BoJack writer Peter Knight. In his script, Larry David appears on Who Wants to be a Millionaire? with Ron Howard. When Ron Howard admits he doesn't know who Larry David is, David pretends to not know who Howard is and deliberately blows the game. In "Let's Find Out," BoJack goes on the Mr. Peanutbutter-hosted Hollywoo Stars and Celebrities: What Do They Know? Do They Know Things?? Let’s Find Out! and fumes over the fact that Daniel Radcliffe doesn't know who he is. In the end, BoJack pretends to not know who Radcliffe is, losing the game.

Radcliffe was a fan of BoJack Horseman, so he was written in as the celebrity on the game show. "I’ve seen every version of a Harry Potter joke and you guys wrote my favorite," Radcliffe told Bob-Waksberg.

16. BoJack Horseman’s creator doesn’t actually hate honeydew.

Bojack Horseman is very vocal about his hatred of honeydew, which the show refers to as the Jared Leto of fruits (“It is literally the worst part of everything it’s in,” one character explains). But Bob-Waksberg doesn’t actually mind it.

“I think good honeydew’s all right,” he told Yahoo! in 2017. “I hope this doesn’t destroy my credibility. I live in constant fear that people connect to the show because it’s such a sensitive and accurate portrayal of honeydew haters, and it’s going to come out that I myself am not a honeydew hater, and they’re going to tear me down.”

17. Raphael Bob-Waksberg thinks BoJack Horseman still has a few seasons left in it.

In an interview with Vulture, Bob-Waksberg was asked whether he was surprised when Netflix announced that season 6 would be BoJack Horseman's last; his answer was somewhere between yes and no."I thought we’d go a couple more years," he said. "But you know, it’s a business. They’ve got to do what’s right for them, and six years is a very healthy run for a TV show. Frankly, I’m amazed we got this far. So I can’t complain. I think if we premiered on any other network, or even on Netflix on any other time than when we did, I don’t know if we would’ve gotten the second season."

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