Following the death of Polish sociologist and philosopher Zygmunt Bauman, Łukasz Muniowski uses his work to explore Sarah Lynn the Disposable Celebrity, trash and the right-wing media representation of its others. Celebrity and commodity culture are inseparable. While the claim that celebrities are the new royalty may hold some truth, there are only a few celebrities that actually experience the kind of life associated with royals. Others are aspiring to that kind of fame, and are lucky if they catch even a glimpse of it. After all, the media spectacle always needs new, fresh faces to keep the viewers captivated. It can always capitalize on those left behind with the aid of the nostalgia industry or via shows like Celebrity Rehab, because that is where the industry's rejects ultimately land. This is of course an oversimplification of what it means to be a celebrity, but since they are fairly treated like objects insofar as their goal is to be consumed, then the destination of used-up celebrities should be even more obvious. BoJack Horseman's aim is to satirize celebrity in innovative ways, tackling topics like celebrity abortions, workaholism and fake charity. One of the show's reoccurring jokes is the disposabil- ity of celebrities, who are shown nervously clinging to their fame. Each character wants to leave this type of life behind, but they are unable to do so because they are already addicted to admiration and live in fear of being forgotten (in the show the famously reclusive J.D. Salinger is the creator of a celebrity quiz show). Far from discussing all of this infinitely complex com- edy, here I focus on just one particular character, a seemingly marginal one. Sarah Lynn appears in just 8of the 37 episodes and yet is crucial to the presentation of the threat of celebrity culture. Her backstory is that she played the youngest of three kids step-fa- thered by BoJack in the hit TV show Horsin' Around. Their special on-screen relationship eventually transcended off-screen as well, as at some point she describes BoJack as a father fig- ure, while he in turn admits that he loves her. The fact that their bond does not stop them from having sex with one another during one of their benders may signify some deeper issues, that I am not qualified, nor interested to examine, as “that's too much, man.” That was her charac- ters' catchphrase in Horsin' Around. That was the line she used in every episode she appeared in. Literally, every episode. Every episode. Do you get it? You will get it when you watch to show. You will also get what I am doing right now. Whilst BoJack and Sarah Lynn genuinely like each other, their honest admission of this always falls on the other's deaf ears, as both are so deeply engulfed in Hollywoo egotism that they re- ally do not care enough to listen. Although they want to, they are just unable to focus on an- other person for the duration of a whole sentence. The most fun that BoJack and Sarah Lynn have is when they are either discussing or watching old episodes of their show – when their celebrity was fresh and fun, both trying desperately to turn the spotlight on themselves once again. Sarah Lynn does this by forming a power couple with Andrew Garfield or overtly sexual- izing her image in order to arouse public interest. Early on BoJack teaches Sarah that without public admiration she will be worthless, developing in her the fear of irrelevance. When he says: “your family will never understand you, your lovers will leave you or try to change you, but you're fans, you'll be good to them and they'll be good to you,” BoJack sums up the mindset of a certain kind of celebrity. In his article “O przemijaniu trwania” (“On Passing of Duration,” published in the collec- tion Śmieć w kulturze, 2015) Zygmunt Bauman refers to Mary Douglas’ thesis that trash is something out of place, that does not belong. Bauman argues that trash is the by-product of or- der, so its existence implies that a certain order may not exist, but is by all accounts possible. Nowadays the idea of commodification stretches to time, feelings and, ultimately, people. The neoliberal impulse to finally take control of our lives – which in the most basic terms means for us to work more, whether it be on our (celebrity) careers, bodies or shopping habits – is more dominant than ever before. It is therefore obvious that a character like Sarah Lynn, who is so