Seth MacFarlane brings us back the stuffed honey of bad language in the sequel to the 2012 hit comedy Ted. The unexpectedly high commercial score of the debut strongly motivated the powerful people from the reputable production company Universal Pictures to approach the new project even more ambitiously. The budget was increased to $ 68,000,000 and the commander-in-chief was given a free hand without hesitation. McFarlane, in addition to putting the director’s stamp, had fun writing screenplays, with the wholehearted support of his loyal collaborators Alec Salkin and Velesli Wilde. Of course, he also reprized the title role, lending his voice to the main character, the irresistible teddy bear Ted.
Two friends, Ted and John (Mark Wahlberg), still spend their free time together, having fun, enjoying smoking marijuana and sipping beer that is on hand or in the fridge. Socializing with each other takes on a new dimension when Ted marries Tami-Lin (Jessica Barth), a blonde man he works with in a supermarket. John is the best man at the wedding, where he is not doing well. The break-up of his long-term relationship with Lori left a visible mark, turning John into an emotionally empty shell.
The plot starts after a year of marriage, which starts to fall apart. The ever-present factor of financial instability is further exacerbated by the painful fact that the swindler Ted does not have the organs needed to reproduce the human species. The couple realize that the first child would save their marriage and strengthen their love affair brought to the point of breaking up. However, having a child will prove to be not easy at all, especially if the potential mother is a former drug addict, and the potential father is a plush toy with a very developed ability to speak. Ted and Tammy-Lynn, with John’s unreserved support, will have to face many vicissitudes in order to fight for the status of happy parents…
Just as was the case with the debut, the same goes for the sequel. Comedy is definitely not for everyone, especially not for those who are looking for a conventional concept here in staging humorous sequences. Seth McFarlane remains consistent with his own directorial handwriting and without any compromise imposes a twisted sense of humor on us, creating a total hilarity of narratives. Using metaphors from the main protagonist (Ted is a ‘product’ designed as a great tool in the fight against alienation and human loneliness, especially in the sensitive period of growing up, when we are most vulnerable and often left to ourselves), the director develops a story that only at first it seems pointless.
If we try to ‘read between the lines’ from these vulgar, disgusting, stupid tricks and jokes, there is a possibility that we will discover that there is something else. For example, a parody of American democracy that boasts a legal system, in which capable lawyers are elevated to the fifties of modern “little gods”, has served as an appropriate, deadly means of serving viewers with a kind of cynical humor.
Comedy abounds in a series of so-called unsalted jokes on a variety of topics touched on by an uncompromising director. This is especially true at the expense of the fight for human rights, which is an inviolable right in a society that pretends to be a role model for the whole world. Therefore, it is understandable that we have a lot of political incorrectness, whether it is a reminder of the former status of the African-American population or, say, open agitation aimed at legalizing soft drugs. I will not say a word about the design of the grass smoking bong, because it would be absolutely incoherent.
