Family Guy, of course, is not to all tastes - it has never tried to be. Bringing together a fusillade of pop-culture references, gleeful wallowing in sex, violence and bodily functions, and a narrative style that doesn't exactly follow the rules of conventional scriptwriting, with frequent non sequiturs and cutaways to one-shot gags of no relevance to the story, it is a show that takes immense delight in offending anyone it can, poking relentlessly at the ulcer on the gum of society.

The real elevating quality of Family Guy, though, is its complete and utter commitment to funny. There may be political points to be made, but they'll always be subordinate to the writers' determination to make the joke at any cost, and so the show careens from satire to slapstick to Pythonesque absurdity at breakneck speed.

The gold-plated cast, featuring MacFarlane in multiple roles, Alex Borstein, Seth Green, Mila Kunis and Patrick Warburton, tops it all off. It's profane, it's offensive, it's hilarious, and hides a sharp intelligence behind its vulgar characters.

Tuesday's episode, the 18th from season 12, is prime fodder for those who seek to be upset by television.

Peter Griffin's idiot son Chris falls for family friend Jerome's daughter Pam, leading to friction when Jerome forbids his little girl to date a white boy. Commentary on race relations follows, with highlights in liberal dog Brian's attempts to demonstrate how much he loves black people, and a hysterical musical number wherein Peter showcases everything white folk have given the world. All leavened by the usual discursions into general lunacy and why-the-hell-not japes. The topical storyline is, naturally, bookended by some surreal sleep-deprivation hallucinations and a sick burn on - of course - Randy Quaid. Not for everyone, but if you're hard to offend and have a relaxed attitude to structure, it's as good as animated comedy gets. Meanwhile, on the main channel it's all seriousness at Chicago Fire (Prime 7, 10.15pm), one of the few shows to eschew the well-trodden path of police and medical drama to pursue the third rail of emergency services: firefighters. Chicago Fire's main attraction for Australians is a Neighbours boy made good, Jesse Spencer, as Lieutenant Casey, pondering the first anniversary of colleague Andy's death. Meanwhile Lieutenant Severide is targeted by an arsonist. At least he's got easy access to giant hoses.