By Adam Tawfik
MADtv, wrongly dismissed as “the poor man’s SNL,” was a vastly overlooked American sketch show that for the majority of its 14-year run produced innovative and irreverent content that pushed the boundaries of good taste in a funny and often thought-provoking way. Although best known for their pop culture parodies and celebrity impressions (like Phil Lamarr’s freakishly spot-on white Michael Jackson or Debra Wilson’s hilariously cracky Whitney Houston), MADtv’s real genius manifested in its character-based original content. Constructed like short films, these vignettes take their time to establish the characters and situations and letting the tension bubble until it enteris the realm of pure mayhem.
The Christmas episodes of many TV shows, even the good ones, tend to mindlessly contribute to the endless output of excruciatingly mediocre and cliché Christmas-fare. Luckily, MADtv keeps delivering the razor-sharp satire that debunks the misguided perception that Christmas is “the most wonderful time of the year.” Merry Freakin’ Christmas!
Expectations are a bitch. When it concerns Christmas presents, they’re 100 times worse (thanks retail!). One mother (Stephnie Weir), ruins Christmas Day with her eternal woe of giving her family the perfect present, while her long-suffering family (all of whom love their gifts) painstakingly try to console the inconsolable matriarch.
What do you get when you fuse Martin Scorcese’s gangster films with the claymated world of Rudolph the Red-Nose Reindeer? Musical numbers, power struggles, violence, and a whole lot of blood. There’s something for the entire family (except perhaps for children).
If your family is a hot mess, that won’t magically change at Christmas. The Shanks (expertly portrayed by Mo Collins and Ike Barinholtz), are a co-dependent husband and wife that endlessly yell and beat each other up; she is a raging shrew and he an unemployed loser. Caught in the middle are a well-meaning but highly senile grandfather who thinks everything is a PlayStation, their Prozac infused daughter (Stephnie Weir), and a couple of neighbors who have the bad luck to be houseguests after their home burned down.
While Christmas rarely brings sunshine and roses, it often illuminates other, less flattering parts of certain family members. A couple (Mo Collins and Michael McDonald) are awoken by their gift deprived children who are devastated that Santa forgot them. They learn the truth when their parents half-assedly pass on stuff from their bedroom. Unfortunately for the children, there are far worse skeletons to come out of the closet.
Every great piece of black humor should involve emotional harm to children. April (Stephnie Weir), a cute little girl discovers the brutal consequences of encountering Santa (Michael McDonald), who turns out to be an eccentric crazy-man with a murderous streak. For five hilarious minutes, we watch April plead for her life while Santa tries to ease her into death in a none-too-refined method.
Political correctness is a killjoy, especially at the holidays. A new employee is surprised to find that Christmas is banned in his office. Several repressed employees, tired of a “cheer of a non-specific, non-traditional, non-religious nature,” plan an ultra-underground Secret Santa, which sets off a chain-effect of cultural cacophony.