In the realm of American satire, certain institutions stand out for their ability to blend humor with cultural commentary. Among them is the Harvard Lampoon, which has a rich history of parody dating back to its 1966 spoof of Playboy, humorously titled Pl*yb*y. This notorious edition featured a woman dressed as a jester, an editorial purportedly penned by Hugh M. Hefner, and a whimsical interview with a “Plastic Rasputin” — an anthropomorphized Magic Eight Ball advising President Johnson. When Hefner learned of the parody, he threatened legal action, yet the Lampoon editorial board responded with a level of bravado, welcoming the potential publicity. Ultimately, Hefner refrained from suing, and Pl*yb*y soared to success, cementing the Lampoon’s comedic legacy.
Modern Day Parodies and a Return to Form
Today, the Harvard Lampoon continues this tradition, evolving from its early fearlessness in the face of legal threats to a more playful creative environment. “It’s just a way for people to write over the summer and have fun,” said Adrian Maydanich, a rising junior and staff writer. While the Lampoon has tackled significant subjects in past parodies—such as National Geographic and Cosmopolitan, the latter featuring a nude Henry Kissinger—the team recently shifted its sights to more accessible targets like the Harvard Crimson. After 18 years without a major parody, Maydanich and other leaders felt a calling to take on something more substantial: Hollywood itself.
A Hollywood Highlight
“Hollywood is rife with absurdity, and it felt like the right moment to parody it,” Maydanich explained. This sentiment led them to choose The Hollywood Reporter as their target, with its focus on the foibles and follies of the film industry, including high-profile figures like the Ellisons and the complications posed by artificial intelligence. A crucial link was Julian Sancton, a Lampoon alum now at THR, who helped facilitate a collaboration between the two publications.
Collaborative Creativity
“I loved my time on the Lampoon, but I recall it being quite competitive,” said Sancton of his experience in the early 2000s. His reminiscence highlights the Lampoon’s blend of comedic challenges and camaraderie—elements that resonated well with Nelson, Wood, and Maydanich as they began discussions with THR‘s editor-in-chief, Maer Roshan, about distributing their parody alongside the legitimate magazine.
Welcome to the Table
Roshan expressed enthusiasm for the partnership, believing that a lens turned back on Hollywood could offer valuable insights. “We spend an enormous amount of time chronicling Hollywood’s anxieties, vanities, and absurdities. It seemed only fair to let someone turn the lens on us,” he stated. At a time when the industry faces uncertainty, the parody represented a fresh and humorous perspective on pressing issues, with revelations from students about the bizarre dynamics of the industry.
Taking Risks with Humor
The collaboration was unique, given the typical aversion of industry giants to self-satire. Yet, Roshan remained open to the Lampoon’s creative expression, providing fonts and templates to ensure the parody closely resembled THR. The willingness to embrace a humorous take came with a few hesitations, particularly regarding sensitive topics that might upset publicists or lead to potential legal action. “Hollywood is a big fan of irreverence, right up until the joke is about them,” Roshan noted, emphasizing the challenge of striking the right balance.
Reflections on the Lampoon Pipeline
While some may think the Lampoon automatically opens doors in Hollywood, Nelson pointed out that the so-called Lampoon-to-Hollywood pipeline is more of a myth these days. “I know it used to be the case that [David] Letterman would call the Lampoon and ask for sample writing packets, but it was never like this person is in because they’re in the Lampoon,” he explained. Many alumni have forged successful careers in comedy and writing, yet the students clarified that this project was not merely a means to an end. “We weren’t writing this to get a job,” Nelson remarked.
The Final Product
Despite last-minute concerns about certain articles and their content, including a satirical take on Scarlett Johansson’s past casting controversies, the final product emerged with Roshan’s full backing. The parody, titled The Hollywood Reporter, encapsulated the humor and critique that has defined the Lampoon for decades. It serves as a reminder of how laughter can illuminate the absurdities of an industry that often takes itself far too seriously.
