The episode was featured on the 1998 VHS release Rugrats: Mommy Mania, and was later made available for digital download along with the rest of the fourth season. Germain said that he was disappointed at being unable to cover the topic during his time on the series.īroadcast on Nickelodeon in the United States on May 6, 1997, "Mother's Day" was one of several half-hour specials that Nickelodeon commissioned for Rugrats. ![]() The concept was later revised and approved as a Mother's Day special. ![]() Germain left the show in 1993, and several new writers replaced him. Before "Mother's Day" premiered, only minor references to Chuckie's mother had been made. Series co-creator Paul Germain had pitched two potential storylines to explain the absence of Chuckie's mother, but Nickelodeon executives rejected his proposed ideas that the mother was either divorced from Chas or had died. Norton Virgien and Toni Vian directed the episode from a script by Jon Cooksey, Ali Marie Matheson, J. Meanwhile, Didi Pickles tries to plan the perfect Mother's Day with her mom Minka, while Betty DeVille helps Stu Pickles with his invention to help mothers. It concludes with Chuckie and Chas looking through a box of her belongings, including a poem she had written for her son. At the end of the episode, Chuckie's mother is revealed to have died of a terminal illness. Tommy, Phil, and Lil attempt to find the perfect mother for Chuckie (who is raised only by his father Chas) while sharing their favorite memories about their moms. It revolves around the holiday from the perspective of a group of babies- Tommy Pickles, Chuckie Finster, and Phil and Lil Deville. This included the Macaronis who were seen to ‘ape’ women’s fashion and exhibit ‘female’ characteristics." Mother's Day", also known as the " Rugrats Mother's Day Special" or " Rugrats Mother's Day", is the second episode of the fourth season of the American animated television series Rugrats and the show's 67th episode overall. Anyone who strayed from these designations became the subject of satire in order to reinforce the new social norms. Men were given a more active, assertive role, whilst women were increasingly defined in terms of maternal functions. At the same time, the emerging merchant class emphasised the importance of the ‘stable family household’ to social unity. However, during the late 18th century the idea of male homosexuality gradually began to emerge alongside an underground gay subculture, which developed tentatively around various taverns, coffee-houses and private rooms known as molly-houses. Up to this point there had been a certain amount of tolerance to bisexuality and there was no clear concept of homosexuality as an identity - only an understanding of men engaging in, what were at that time, illegal and taboo, homosexual acts. However, the ‘macaroni’ caricature was used to both deride those who were not ‘acceptably masculine’ and to imply homosexuality. Indeed, many of the most notable ‘macaronis’, including the MP, Charles James Fox, were famed for their numerous heterosexual affairs. The ‘macaronis’ were not necessarily homosexual or men who engaged in homosexual acts. In popular culture the term ‘macaroni’ was also used disparagingly to question masculinity or ‘manliness’, or to imply sexual deviance. The satirical print on this tile, for example, presents a comical caricature of an overweight older man, attempting to adopt the ‘macaroni’ fashion. ![]() ![]() The flamboyant and immediately recognisable image of the ‘macaroni’ was opportunistically seized upon in print culture to mock men with extremely extravagant, or ‘over-fashionable’ hairstyles and clothes, or theatrical mannerisms - characteristics, which might commonly be referred to today as camp. Though in Italy ‘macaroni’ meant ‘buffoon’, in Britain it became a short-hand for ‘fashion victim’. The ‘macaronis’ were also famed for wearing face-powder, rouge and tight, colourful silk and velvet suits, carrying long swords and a nosegay, and for their exaggerated use of spyglasses (small telescopes) to distinguish themselves as elite connoisseurs of culture.īy the 1770’s, however, ‘macaroni’ came to be used as a social stereotype with similar, but not identical, meaning to the term ‘dandy’ or ‘fop’. ‘Macaroni’ was thereafter specifically used to describe their placing of a small tricorn hat on top of an exceedingly high, and elaborate, powdered wig. They were dubbed ‘the Macaroni Club’, after their enthusiasm for the Italian pasta dish. The term originally referred to the extravagant, modish fashion of a group of well-travelled, aristocratic, young men who met at the exclusive Almack’s club in 1764. In late 18th century Britain the term ‘macaroni’ entered popular use.
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