

Even if the character of Mort Goldstein is in fact “satirising antisemitism”, the satire is indistinguishable from antisemitism itself. Of course, this argument never really holds up in Family Guy’s case the “satire” here is usually paper-thin. One of the arguments used to defend the politically incorrect humour in Family Guy, and in other bad taste comedies, is that it is satirical: “depiction is not endorsement”.
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And yet, next Wednesday, on Disney Plus in the UK, Family Guy begins its 20th season, with a 21st already in the pipeline. Some series get off with a rap on the knuckles – Friends’ penchant for homophobia hasn’t put a dent in its popularity – while others have been yeeted into total exile, such as Family Guy’s erstwhile bad-taste contemporary Little Britain. The needle of consensus swings, and jokes that once were hailed as edgy, or outspoken, are found to be, on closer reinspection, offensive, or ill-informed, or simply unfunny.
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In many ways, Family Guy represented the worst impulses of an era when pushing back against “PC culture” was considered a cutting-edge comic sensibility.īut there comes a time when every provocateur must meet a reckoning, when every enfant terrible must face trial as a terrible adult. It won plenty of fans – especially within the young male demographic – but plenty of detractors, too, inciting numerous controversies with its shock-factor material. Racist jokes, homophobic jokes, transphobic jokes, ablist jokes, jokes about rape, about paedophilia nothing was off the table. The animation was cheap-looking, the storytelling flimsy and artless, and the jokes were loudly, proudly crass. This was The Simpsons’ grubby little brother. After The Simpsons had revolutionised the possibilities of TV animation in the 1990s, Family Guy went one step further. Remember Family Guy? Fifteen-odd years ago, the Seth MacFarlane-created animated sitcom seemed to be everywhere.
