1. Stuart Larkin

The character with a built-in family comedy

Michael McDonald’s Stuart was an oversized, strangely dressed child who demanded attention, performed unwanted physical demonstrations, and treated every public space as his personal talent show. His famous invitation to “look what I can do” usually preceded a kick, hop, wiggle, or movement no responsible physician would recommend.

What made Stuart more than a catchphrase was his relationship with his exhausted mother, Doreen, played by Mo Collins. She encouraged him, corrected him, overshared family information, and tried to manage a child who seemed to possess the confidence of a superhero and the judgment of a dropped sandwich. McDonald has explained that Stuart was developed through live improv and that parts of Stuart’s relationship with Doreen drew inspiration from his own family experiences.

A Stuart movie practically writes its own chaotic itinerary. Imagine Doreen taking him across the country for a children’s talent competition after mistakenly believing the grand prize is $1 million. Stuart would irritate flight attendants, destroy a hotel breakfast bar, acquire a rival stage mother, and become convinced that a regional insurance commercial is his gateway to Hollywood.

The emotional story would belong to Doreen. She would slowly recognize that protecting Stuart from every disappointment prevents him from growing, while Stuart would learn that applause is not a legally guaranteed service. The movie could retain the physical comedy while developing the messy affection between mother and son.

Unlike the Roxbury Guys, Stuart had a personal history, a dependable scene partner, and a reason to enter different environments. Every new location would challenge Doreen’s patience and Stuart’s interpretation of indoor behavior. That is a cinematic engine, even when the engine is wearing seven belts and standing too close to strangers.

2. The Vancome Lady

A workplace satire disguised as a human-resources emergency

Nicole Sullivan’s Vancome Lady appeared in the first episode of MADtv and became one of the original cast’s signature creations. Loud, self-satisfied, and aggressively insulting, she could transform an ordinary workplace interaction into a social disaster before anyone finished saying hello.

A modern Vancome Lady movie could not simply endorse her behavior or repeat every element of the original sketches without examination. The character’s prejudice and cruelty would need to be treated as the problem, not as harmless background decoration. That limitation could actually provide the story.

Picture a dark workplace comedy called The Vancome Lady Gets Promoted. Through an administrative error, she becomes the acting manager of a failing department store. She immediately reorganizes the staff according to irrational personal rules, starts feuds with customers, and attempts to turn mandatory sensitivity training into a seminar about why everyone else is too sensitive.

Her employees initially try to remove her, but they discover that the store’s polished executives are quietly planning to close the location and eliminate their jobs. The Vancome Lady becomes an accidental weapon against corporate leadership because she is the one employee too shameless to be intimidated. She would not become warm, gentle, or suddenly enlightened. She would merely point her destructive energy toward people with better suits and more expensive lawyers.

That structure could deliver sharp social satire while giving the supporting cast meaningful roles. The Vancome Lady works best when other people push back, stare in disbelief, or manipulate her enormous ego. A feature film could surround her with employees who gradually learn how to direct the tornado without pretending the tornado has become pleasant weather.

3. Lorraine Swanson

The Midwestern mystery-comedy America deserved

Mo Collins’ Lorraine Swanson was a nasal, socially oblivious Midwesterner whose physical mannerisms suggested that every joint in her body had been tightened with the wrong wrench. Lorraine wandered into stores, offices, medical appointments, and public events while sharing far more information than any employee had requested.

Collins created several popular recurring characters during her years on MADtv, including Lorraine, Trina, and Stuart’s mother, Doreen. Lorraine stood out because she seemed to arrive with an entire off-screen existence. She had opinions, domestic concerns, stories about her husband Carl, and absolute faith that strangers desperately wanted updates about all three.

A Lorraine movie should be a small-town mystery in which she accidentally becomes a detective. Carl disappears during a regional meat-raffle convention, leaving behind a cryptic receipt, one orthopedic shoe, and a cooler containing nothing but potato salad. The local police assume he left voluntarily. Lorraine refuses to accept this, partly because she loves him and partly because he has the garage-door opener.

Her investigation would take her through county fairs, discount furniture stores, church basements, roadside motels, and a suspiciously competitive casserole circuit. Lorraine would misunderstand every clue but still stumble toward the truth because criminals cannot predict the behavior of someone who interrupts an interrogation to describe a recent dental procedure.

The character offers an advantage the Roxbury Guys never possessed: unpredictability. Doug and Steve generally responded to every situation with the same nightclub confidence. Lorraine could turn any situation sideways. She might offend a witness, befriend the villain, lose the evidence, and solve the case while attempting to return a defective recliner.

With the right script, Lorraine Across America could have combined a road comedy, regional satire, and surprisingly sweet marriage story. It would also have given Mo Collins enough room to turn a collection of gestures, noises, and overshared details into a fully realized comic hero.

4. Dot Goddard

A sibling rivalry with genuine emotional stakes

Stephnie Weir’s Dot Goddard was a bizarre little girl living in the shadow of her brilliant twin sister, Karen. While Karen collected impossible academic achievements, Dot struggled to understand basic situations, interrupted conversations, and pursued her own eccentric logic with total enthusiasm.

Weir’s MADtv tenure became closely associated with original characters such as Dot Goddard and Angela Wright. Her performances frequently found humor in people whose thought processes did not follow ordinary roads, signs, maps, or internationally recognized rules of navigation.

A Dot movie could begin when the Goddard twins enter the same national science competition. Karen plans to unveil a clean-energy system capable of powering a city. Dot enters a shoebox containing a flashlight, a pickle, and what she believes is a sleeping robot.

When Karen’s invention is stolen, Dot becomes the only person who noticed an important detail because she was staring at something everyone else considered irrelevant. The sisters are forced onto a cross-country chase involving rival child geniuses, desperate parents, an unethical educational-technology company, and Dot’s increasingly alarming collection of snacks.

The comedy would come from the contrast between Karen’s intelligence and Dot’s accidental perception. More importantly, the story could explore how children respond when one sibling is constantly labeled exceptional and the other is treated as an inconvenience. Dot would not need to become secretly brilliant. Her victory would come from possessing imagination, loyalty, and a form of emotional awareness that standardized tests cannot measure.

That is enough material for a funny family movie with an actual heart. It could deliver slapstick to younger viewers while giving adults a recognizable story about comparison, parental expectations, and the exhausting theater production known as raising siblings.

5. Coach Hines

An underdog sports movie directed by pure rage

Before Keegan-Michael Key became half of Key & Peele and one of Hollywood’s most versatile comic performers, he played Coach Hines on MADtv. Hines was an enraged school coach who treated routine student behavior as a direct attack on civilization. Key’s theatrical control allowed the character to leap from calm authority to operatic fury in seconds.

A Coach Hines movie could parody every inspirational sports film ever made. A financially struggling Catholic school hires him to coach a team that has not won a game in six years. The athletes lack equipment, discipline, enthusiasm, andin one player’s casea clear understanding of which sport they are playing.

Hines believes the team needs tougher training. The principal believes Hines needs court-ordered supervision. Their conflict escalates as he introduces obstacle courses, motivational lectures, midnight drills, and a nutritional program based primarily on foods that frighten teenagers.

The supporting players would be essential. Bobby Lee’s Yamanashi could serve as Hines’ most bewildered student, while teachers and parents attempt to prevent the coach from turning a junior-varsity season into a military campaign. The team would eventually improve, not because Hines’ methods are sensible, but because surviving practice makes an ordinary game feel relaxing.

The final championship would give Hines the opportunity to choose between his ego and the students’ well-being. Naturally, he would make the correct decision in the loudest and least legally advisable manner possible.

Coach Hines had the physical energy, ensemble possibilities, and escalating conflict needed for a feature. More importantly, Key could make the character absurd, threatening, strangely vulnerable, and magnetic at the same time. The Roxbury Guys had one dance. Coach Hines had enough combustible intensity to power the stadium lights.