I’ve always struggled to understand the enduring appeal ofMrs Brown’s Boys, particularly its annual Christmas dominance. A few years ago, driven by curiosity, I attempted to watch it, hoping to decipher the source of its popularity with millions.
Ten minutes was all I could manage. The experience was a relentless barrage of slapstick, amplified by an aggressively intrusive laugh track. Jokes, if they could be called that, relied heavily on tired expletives. It felt… jarring.
The broad comedy simply didn’t resonate; it felt irritating rather than endearing. I vividly recall the titular character performing a series of spittakes during a pub scene, leaving me completely unmoved. I wasn’t alone in my assessment – the show has consistently faced harsh critical reviews, often labeled as among the worst comedies ever created.
The enthusiasm of its live studio audience and devoted viewers remains a mystery. Yet, despite the criticism,Mrs Brown’s Boyscontinues to secure a prominent spot in the BBC’s Christmas programming, even after a series of troubling events that should have signaled its end.
The show, the creation of Brendan O’Carroll who also stars as the matriarch, centers around a boisterous Dublin family whose lives unfold amidst constant, chaotic interruptions in their kitchen and living room. The humor is relentlessly physical and often relies on shock value.
In October of last year, reports surfaced detailing a deeply concerning incident during rehearsals. O’Carroll, while improvising in character, allegedly made a remark alluding to a racial slur. Witnesses reported he began to utter a hateful word before being interrupted by another actor.
The incident prompted a staff member, who identified as Black, to resign from the show. The BBC immediately launched an investigation into the matter. O’Carroll later issued a statement, describing his attempt at a joke as “clumsy” and expressing sincere regret for the offense caused.
I initially believed this would be the definitive end for the show. How could such a blatant remark be made in 2024? Surely, certain boundaries were now unbreakable in the entertainment industry? Yet, remarkably, rehearsals resumed shortly after, and the show continued its run.
Not only did the Christmas edition air as scheduled, but the series returned for a fifth season and a two-part special this year. A BBC spokesperson stated the organization is firmly against racism and maintains robust procedures for addressing such issues, but offered no further comment on the specific incident.
The continued airing ofMrs Brown’s Boysisn’t simply a matter of poor taste; it represents a troubling lack of innovation and a disappointing failure to take issues of racism seriously. It’s a signal of priorities, and they are deeply concerning.
The show’s continued presence feels unjustifiable. Ending it last year would have been a powerful statement, allowing the BBC to distance itself from the negative associations and the harm caused by the incident and the subsequent staff departure.
The employee who left was a junior member of the team, their career potentially derailed by the actions of a prominent figure. The situation highlights a disturbing pattern: a corporation seemingly prioritizing the protection of established stars over the well-being of its employees and a refusal to hold individuals accountable for harmful behavior.
This wasn’t an isolated incident. In 2022, O’Carroll made a cameo in Tyler Perry’sA Madea Homecoming, where he attempted similar humor, sparking controversy when characters misinterpreted Mrs. Brown’s words as a racial slur.
During an interview, when asked about a potential Perry appearance onMrs Brown’s Boys, O’Carroll made a casually insensitive remark, gesturing to Perry’s skin tone while discussing the show’s lack of diversity. The remark was shocking in its nonchalance, as if such a statement was perfectly acceptable.
O’Carroll himself admitted that, as recently as three years ago, the show had never featured a Black actor. This historical lack of diversity makes his recent attempt at humor even more disturbing and underscores a pattern of insensitivity.
These decisions reflect poorly on the BBC. As the national broadcaster, it should inspire trust and represent the diversity of modern Britain. By continuing to align itself with work that causes harm and offense, it raises serious questions about its true purpose and its commitment to inclusivity.
Despite the controversy and questionable content,Mrs Brown’s Boyswill undoubtedly return to our screens. But regardless of how unfunny some may find it, the most disheartening aspect is the BBC’s continued willingness to allow it to air.
