premiered on Fox right after the Super Bowl. The show quickly won audiences over with its slapstick comedy, vulgar humor and relatability. But what really stuck with people were two characters: A talking baby named Stewie and a talking family dog named Brian.
In 2012, MacFarlane capitalized on his knack for unexpected turns from cute anthropomorphic comedy with his feature directorial debut,. It follows teddy bear Ted , who is best friends with an adult man named John —much to the dismay of John’s girlfriend, Lori . Like Stewie and Brian are to their respective real-life equivalents, Ted is everything that a teddy bear is not. He’s foul-mouthed, violent, smokes copious amounts of marijuana and has sex with his supermarket co-workers in the storeroom.
Ted works fundamentally because his very existence makes us uncomfortable. MacFarlane shrewdly challenges something we’ve been taught from day one: A staple of many of our childhoods and the picture of innocence and comfort, a teddy bear should be cuddly and sweet, not lewd and ambitionless. When this soothing notion is challenged, then, it throws our world out of orbit—making the same comedic gambit that makes shows likesuch surefire hits.
As soon as we see a British baby, or a depressive dog, or an obscene teddy bear, we know something is off. But in, what makes it even worse is that, at a certain point, people in that world no longer acknowledge that there is something fundamentally weird about a teddy bear walking around like a human. Lori is frustrated by John and Ted’s friendship, but only because they are bad influences on one another, not because one is an inanimate object.
MacFarlane’s uncanny, limit-pushing anthropomorphic comedy paved the way for increasingly subversive animated shows like. And while comedy remains an important element in these shows, they manage to accomplish something deeper than
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