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Bon Jovi docuseries 'Thank You, Goodnight' is an argument for respect

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Bon Jovi docuseries 'Thank You, Goodnight' is an argument for respect

Jon Bon Jovi at the Mohegan Sun in Uncasville, Conn., in 2013.

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Jon Bon Jovi at the Mohegan Sun in Uncasville, Conn., in 2013.

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Hulu’s docuseries Thank You, Goodnight: The Bon Jovi Story, spends a lot of time building up the Bon Jovi legend — exploring the band’s almost unbelievable 40-plus-year run from playing hardscrabble rock clubs in New Jersey to earning platinum albums and entry into the Rock & Roll Hall of Fame.

But what moved me most in the four-part series was something more revealing: its close look at the struggle by lead singer Jon Bon Jovi to overcome vocal problems which nearly led him to quit the band.

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Footage of the singer croaking through vocal exercises, undergoing laser treatments, enduring acupuncture and finally turning to surgery is sprinkled throughout the series, which toggles back and forth between his problems in 2022 and a chronological story of the band’s triumphs and tragedies from its earliest days.

Refusing to be Fat Elvis

Jon Bon Jovi was interviewed for Thank You, Goodnight.

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Jon Bon Jovi was interviewed for Thank You, Goodnight.

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Through it all, a question hangs: Will Bon Jovi ever recover enough vocal strength to lead a 40th anniversary tour?

“If I can’t be the very best I can be, I’m out,” he tells the cameras, still looking a bit boyish despite his voluminous gray hair at age 62. “I’m not here to drag down the legacy, I’m not here for the ‘Where are they now?’ tour … I’m not ever gonna be the Fat Elvis … That ain’t happening.”

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Filmmaker Gotham Chopra — who has also directed docuseries about his father, spiritualist Deepak Chopra, and star quarterback Tom Brady — digs deeply into the band’s history, aided by boatloads of pictures, video footage and early recordings provided by the group.

Former Bon Jovi guitarist Richie Sambora in Thank You, Goodnight

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Former Bon Jovi guitarist Richie Sambora in Thank You, Goodnight

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Chopra gets folks from the group’s tight inner circle to speak up, including former manager Doc McGhee and guitarist Richie Sambora, who quit the band in 2013. (“Are we telling the truth, or are we going to lie, what are we going to do?” Sambora cracks to his offscreen interviewer. “Let’s figure it out.”)

But anyone expecting gossipy dish will walk away disappointed. Even major scandals in the band’s history are handled with care, including the firing of founding bassist Alec John Such in 1994 (and the admission that his replacement, Hugh McDonald, already had been secretly playing bass parts on their albums for years), drummer Tico Torres’ stint in addiction treatment and Sambora’s decision to quit midway through a tour in 2013, with no notice to bandmates he had performed alongside for 30 years.

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Sambora’s explanation: When issues with substance use and family problems led him to miss recording sessions, Bon Jovi got producer John Shanks to play more guitar on their 2013 record What About Now. And Sambora was hurt.

“[Bon Jovi] had the whole thing kinda planned out,” Sambora says, “which basically was telling me, um, ‘I can do it without you.’”

Building a band on rock anthems

Jon Bon Jovi with guitarist Phil X.

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Jon Bon Jovi with guitarist Phil X.

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The docuseries shows how young New Jersey native John Bongiovi turned a job as a gofer at legendary recording studio The Power Station – owned by a cousin — into a recording of his first hit in the early 1980s, Runaway. His song eventually caught the ear of another little-known artist from New Jersey called Bruce Springsteen.

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“The first demo I got of Jon’s was a good song,” says Springsteen, a longtime friend of Bon Jovi. “I mean, Jon’s great talent is these big, powerful pop rock choruses that just demand to be sung by, you know, 20,000 people in an arena.”

Thank You, Goodnight shows the band really took off by honing those rock anthems with songwriter Desmond Child, while simultaneously developing videos that showcased their status as a fun, rollicking live band. Hits like You Give Love a Bad Name, Livin’ on a Prayer and Wanted: Dead or Alive made them MTV darlings and rock superstars.

Through it all, the singer and bandleader is shown as the group’s visionary and spark plug, open about how strategically he pushed the band to write hit songs and positioned them for commercial success.

“It wasn’t as though I woke up one morning and was the best singer in the school, or on the block, or in my house,” he tells the camera, laughing. “I just had a desire and a work ethic that was always the driving force.”

I saw that dynamic up close in the mid-1990s when I worked as a music critic in New Jersey, spending time with Jon Bon Jovi and the band. Back then, his mother ran the group’s fan club and was always trying to convince the local rock critic to write about her superstar son – I was fascinated by how the band shrugged off criticisms of being uncool and survived changing musical trends, led by a frontman who worked hard to stay grounded.

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Bon Jovi was always gracious and willing to talk; he even introduced me to then-New Jersey Gov. Christine Todd Whitman at one of his legendary Christmas charity concerts. (And in a crazy coincidence, the band’s backup singer Everett Bradley is an old friend from college.)

I think the docuseries captures Bon Jovi’s skill at leading the group through challenges musical and otherwise — from metal’s slow fade off the pop charts to the rise of grunge rock — something the singer rarely gets credit for achieving.

Still, much of Thank You, Goodnight feels like an extended celebration of the band and its charismatic frontman, leavened by his earnest effort to regain control of his voice. If you’re not a Bon Jovi fan, four episodes of this story may feel like a bit much (I’d recommend at least watching the first and last episodes.)

More than anything, the docuseries feels like an extended argument for something Bon Jovi has struggled to achieve, even amid million selling records and top-grossing concert tours – respect as a legendary rock band.

The audio and digital versions of this story were edited by Jennifer Vanasco.

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In Brooklyn’s Park Slope neighborhood, children’s entertainment comes with strings

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In Brooklyn’s Park Slope neighborhood, children’s entertainment comes with strings

The Tin Soldier, one of Nicolas Coppola’s marionette puppets, is the main character in The Steadfast Tin Soldier show at Coppola’s Puppetworks theater in Brooklyn’s Park Slope neighborhood.

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Every weekend, at 12:30 or 2:30 p.m., children gather on foam mats and colored blocks to watch wooden renditions of The Tortoise and the Hare, Pinocchio and Aladdin for exactly 45 minutes — the length of one side of a cassette tape. “This isn’t a screen! It’s for reals happenin’ back there!” Alyssa Parkhurst, a 24-year-old puppeteer, says before each show. For most of the theater’s patrons, this is their first experience with live entertainment.

Puppetworks has served Brooklyn’s Park Slope neighborhood for over 30 years. Many of its current regulars are the grandchildren of early patrons of the theater. Its founder and artistic director, 90-year-old Nicolas Coppola, has been a professional puppeteer since 1954.

The outside of Puppetworks in Park Slope.

The Puppetworks theater in Brooklyn’s Park Slope neighborhood.

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A workshop station behind the stage at Puppetworks, where puppets featured in the show are stored and regularly repaired.

A workshop station behind the stage at Puppetworks, where puppets are stored and repaired.

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A picture of Nicolas Coppola, the founder and artistic director of Puppetworks, in the theater space.

A picture of Nicolas Coppola, Puppetworks’ founder and artistic director, from 1970, in which he’s demonstrating an ice skater marionette puppet.

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For just $11 a seat ($12 for adults), puppets of all types — marionette, swing, hand and rod — take turns transporting patrons back to the ’80s, when most of Puppetworks’ puppets were made and the audio tracks were taped. Century-old stories are brought back to life. Some even with a modern twist.

Since Coppola started the theater, changes have been made to the theater’s repertoire of shows to better meet the cultural moment. The biggest change was the characterization of princesses in the ’60s and ’70s, Coppola says: “Now, we’re a little more enlightened.”

Michael Jones, the newest addition of puppeteers at Puppetworks with Jack-a-Napes, one of the main characters in "The Steadfast Tin Soldier." (right) A demonstration marionette puppet, used for showing children how movement and control works.

Right: Michael Jones, Puppetworks’ newest puppeteer, poses for a photo with Jack-a-Napes, one of the main characters in The Steadfast Tin Soldier. Left: A demonstration marionette puppet, used for showing children how movement and control works.

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Marionette puppets from previous shows at Puppetworks hanging on the wall.

Marionette puppets from previous Puppetworks shows hang on one of the theater’s walls.

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A child attending a 12:30PM showing at Puppetworks on December 6, dressed up in holiday attire featuring the ballerina and tin soldier also in "The Steadfast Tin Soldier."

A child attends Puppetworks’ 12:30 p.m. showing on Saturday, Dec. 6, dressed in holiday attire that features the ballerina and tin soldier in The Steadfast Tin Soldier.

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Streaming has also influenced the theater’s selection of shows. Puppetworks recently brought back Rumpelstiltskin after the tale was repopularized following Dreamworks’ release of the Shrek film franchise.

Most of the parents in attendance find out about the theater through word of mouth or school visits, where Puppetworks’ team puts on shows throughout the week. Many say they take an interest in the establishment for its ability to peel their children away from screens.

Whitney Sprayberry was introduced to Puppetworks by her husband, who grew up in the neighborhood. “My husband and I are both artists, so we much prefer live entertainment. We allow screens, but are mindful of what we’re watching and how often.”

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Left: Puppetworks’ current manager of stage operations, Jamie Moore, who joined the team in the early 2000s as a puppeteer, holds an otter hand puppet from their holiday show. Right: A Pinocchio mask hangs behind the ticket booth at Puppetworks’ entrance.

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A child attending a 12:30PM showing at Puppetworks on December 6, dressed up in holiday attire.

A child attends Puppetworks’ 12:30 p.m. showing on Saturday, Dec. 6, dressed in holiday attire.

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Left: Two gingerbread people, characters in one of Puppetworks’ holiday skits. Right: Ronny Wasserstrom, a swing puppeteer and one of Puppetworks’ first puppeteers, holds a “talking head” puppet he made, wearing matching shirts.

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Other parents in the audience say they found the theater through one of Ronny Wasserstrom’s shows. Wasserstrom, one of Puppetworks’ first puppeteers, regularly performs for free at a nearby park.

Coppola says he isn’t a Luddite — he’s fascinated by animation’s endless possibilities, but cautions of how it could limit a child’s imagination. “The part of theater they’re not getting by being on the phone is the sense of community. In our small way, we’re keeping that going.”

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Attendees of a 12:30PM showing of "The Steadfast Tin Soldier" and "Nutcracker Sweets" at Puppetworks on December 6, 2025.

Puppetworks’ 12:30 p.m. showing of The Steadfast Tin Soldier and The Nutcracker Sweets on Saturday, Dec. 6.

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Children meeting and seeing up close one of the puppets in "The Steadfast Tin Soldier" after the show.

Children get a chance to see one of the puppets in The Steadfast Tin Soldier up close after a show.

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Left: Alyssa Parkhurst, Puppetworks’ youngest puppeteer, holds a snowman marionette puppet, a character in the theater’s holiday show. Right: An ice skater, a dancing character in one of Puppetworks’ holiday skits.

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Community is what keeps Sabrina Chap, the mother of 4-year-old Vida, a regular at Puppetworks. Every couple of weeks, when Puppetworks puts on a new show, she rallies a large group to attend. “It’s a way I connect all the parents in the neighborhood whose kids go to different schools,” she said. “A lot of these kids live within a block of each other.”

Three candy canes, dancing characters in one of Puppetworks' holiday skits, hanging in the space waiting to be repaired after a show.

Three candy canes — dancing characters in one of Puppetworks’ holiday skits — wait to be repaired after a show.

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Anh Nguyen is a photographer based in Brooklyn, N.Y. You can see more of her work online, at nguyenminhanh.com , or on Instagram, at @minhanhnguyenn. Tiffany Ng is a tech and culture writer. Find more of her work on her website, breakfastatmyhouse.com.

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