An Interview with Raphael Bob-Waksberg

Bob-Waksberg says that while there are some similarities between the Schwooper family and his own upbringing as an observant Jew in the San Francisco Bay Area, the show is not autobiographical. However, he does draw on his personal experiences to create a more realistic and relatable world for the audience. The devastating impact of the pandemic on families, including the loss of loved ones to COVID, is a central theme that mirrors the experiences of many during this challenging time.

One aspect of the show that sets it apart is its treatment of Judaism. The portrayal of Yom Kippur, the holiest day in the Jewish calendar, goes beyond comedic stereotypes to explore themes of atonement and spiritual fulfillment. Yoshi’s decision to become Orthodox is not played for laughs, but rather as a meaningful and personal journey that adds depth to his character.

While “Long Story Short” may not cover every aspect of the American Jewish experience, Bob-Waksberg’s decision to focus on other aspects of Jewish identity and family dynamics adds richness and nuance to the story. The absence of discussions about Israel and its controversies is a deliberate choice, allowing the show to explore different facets of what it means to be Jewish in America.

How did this show become your next project after “Undone” at Prime Video and “Tuca & Bertie”?

Bob-Waksberg explains that after the end of “Tuca & Bertie,” he wanted to work with familiar faces and explore new ideas. The experience of becoming a parent and reflecting on family, identity, and time inspired him to create “Long Story Short.” The show’s non-linear structure and thematic focus on grief and memory allow for a unique storytelling experience that resonates with audiences on a personal level.

I’m sure this is by design, but when I was watching the show it took me a few episodes to realize that this is a show about grief. What made you decide that a non-linear structure was the best way to approach that theme?

Bob-Waksberg explains that the non-linear structure of the show reflects the way people remember and process grief. By presenting the story in a fragmented and non-chronological way, the audience is invited to experience the characters’ memories and emotions in a more nuanced and layered way. The show is meant to evoke the feeling of leafing through a family photo album or recalling memories that trigger other memories, creating a rich tapestry of interconnected moments and emotions.

Overall, Raphael Bob-Waksberg is comfortable with his show being read as autobiographical to some extent. He acknowledges that people may draw parallels between his life and the world portrayed in the show, but he emphasizes that the characters and story are the main focus, not his personal life. Bob-Waksberg recalls a humorous encounter with a doctor who was a fan of “BoJack Horseman” but had no idea that he was the creator. This experience reinforced the idea that he is not the central focus of the show, and that viewers are more interested in the characters and their stories.

When developing the visual world of the show, Bob-Waksberg and co-creator Lisa Hanawalt aimed to create a distinct style that differed from their previous work. They wanted the show to feel hand-drawn and incorporate a more cartoonish aesthetic, even though the characters are portrayed as people rather than anthropomorphic animals. By intentionally adding imperfections like wavy lines and forced perspectives, they were able to maintain a sense of authenticity and preserve the energy of the initial character designs.

One aspect of the show that received particular praise was its portrayal of the COVID-19 pandemic. Bob-Waksberg explains that with the benefit of hindsight, they were able to address the pandemic in a detailed and specific manner, reflecting the experiences of 2021, 2022, and 2023. They made careful decisions about when and how to show characters wearing masks, balancing accuracy with the need to keep the storytelling engaging. While they took some creative liberties, Bob-Waksberg aimed to capture the feeling of living through those uncertain years, while also acknowledging the flexibility of their animated universe.

In the end, Bob-Waksberg’s willingness to address personal connections to the show while prioritizing the story and characters demonstrates his commitment to creating a rich and engaging narrative that resonates with audiences on a deeper level.

I think it’s important to have those conversations, obviously. But sometimes it’s nice to just be able to talk about Judaism without it being all about that one thing. I’m trying to think of how to answer your question without answering your question. I don’t know. I feel like I’m trying to get at something, but I don’t know what that is. I think I just want to create art that reflects my experience and the experiences of people I know, and maybe that means tiptoeing around certain subjects sometimes. But maybe it’s also important to dive right into them. I don’t know. I’m still figuring it all out.

That’s totally fair. I think “Long Story Short” does a great job of capturing that complexity and nuance of being Jewish without necessarily getting bogged down in the details. It’s a show that feels both specific and universal at the same time.

Thank you. That’s really all I could hope for. I want people to watch the show and see themselves in it, no matter who they are or where they come from. I want it to be a show that sparks conversations and connections, not arguments and divisions. I want it to be a show that brings people together, even if just for a little while. And I hope that in doing so, we can all start to heal from the trauma of the past few years and move forward together, stronger and more united than ever before.

As a Jewish individual, I was thrilled to come across a show that didn’t feel the need to focus solely on Jewish issues. It was refreshing to see a portrayal of Jewish identity that went beyond the typical stereotypes and discussions surrounding Judaism. The show was able to capture the essence of what it means to be Jewish without feeling the pressure to address every aspect of Jewish life.

In today’s society, there is often an expectation for Jewish media to address political or social issues, to take a stance on certain topics, or to unpack and solve complex issues. However, being Jewish is about so much more than just these external factors. It is about culture, traditions, history, community, and so much more.

The conversations surrounding Judaism in recent years have been dominated by discussions on politics and social justice, overshadowing the rich tapestry of Jewish life and identity. It is important to remember that being Jewish is a multifaceted experience that cannot be reduced to a single issue or perspective.

In conclusion, it is time to shift the focus away from the narrow view of Jewish identity and embrace the diversity and complexity of what it truly means to be Jewish. This show serves as a reminder that there is so much more to being Jewish than meets the eye, and it is time to celebrate and explore the full spectrum of Jewish life and culture.

This interview has been edited and condensed for clarity.