Several years ago, we posted a collection of humorous responses to President Obama’s change to support gay marriage. For a follow up, here are some of the humorous responses to the Supreme Court’s decision to legalize marriage across the country.
Responses seem to fall into a few general categories:
1) Celebration of the ruling
2) Comments on the Supreme Court, pro and con, but with no real connection to the recent Obamacare decision (see bottom for examples of responses to that)
3) Connections to the questions of race and the Confederate flag
4) Satire on the institution of marriage
4) Reactions of opponents
Here are a few cartoons and memes that show examples of these trends.
And here are some web-based humorous responses:
Special issue on contemporary satire for Studies in American Humor (Fall 2016), James E. Caron(University of Hawaii—Manoa), Guest Editor; Judith Yaross Lee (Ohio University, Editor).
In response to the torrent of satiric materials that has been and continues to be produced in recent years, Studies in American Humor invites proposals for 20-page essays using the rubric of “the postmodern condition” as an analytical gambit for demarcating a poetics of American comic art forms that use ridicule to enable critique and promote the possibility of social change. Proposals might focus on aspects of the following issues.
What problems are associated with defining satire as a comic mode, and how do recent examples fit into such debates? How useful is the term postmodern to characterize satire—i.e. does it refer to a period or an operation? How useful for understanding recent and contemporary satire are terms designed to indicate we have moved into something other than postmodernism: e.g. trans- or post-humanism, cosmodernism, digimodernism, post-theory? In accounts of satire as a mode of comic presentation of social issues, what differences arise from varied technologies andplatforms, not just print but also TV sitcoms (live-action or animated), movies, comic strips, stand-up formats, or the sit-down presentation of Jon Stewart and Stephen Colbert? Do significant differences emerge from satires on YouTube (or the video-sharing service, Vines) and various Internet sites (e.g., Funny or Die) and social media? If ridicule, broadly speaking, is the engine of satiric critique, what ethical concerns are entailed in its use?
Various disciplinary perspectives and methods are welcome. StAH values new transnational and interdisciplinary approaches as well as traditional critical and historical humanities scholarship. Submit proposals of 500-750 words to StAH’s editorial portal <http://www.editorialmanager.com/sah/> by June 15, 2015, for full consideration. Authors will be notified of the editors’ decisions in early July. Completed essays will be due by January 15, 2016. For complete information on Studies in American Humor and full submission guidelines see <http://studiesinamericanhumor.org/ >. At the time of publication all authors are expected to be members of the American Humor Studies Association, which began publishing StAH (now produced in association with the Penn State University Press) in 1974. Queries may be addressed to the editors at <firstname.lastname@example.org>.
The scene is a hospital room where Luke Dunphy, at age 14 the youngest of the Dunphy children, is being treated for an allergic reaction. His young cousin looks at the IV drop hanging by his bed and asks what it does. Without missing a beat Luke replies: ”I don’t know but thanks to Obama you’re paying for it”. This scene from an episode of the popular sitcom Modern Family, which aired the day after Barack Obama was re-elected for a second term in the White House in 2012, was greeted with cheer among conservatives. Several conservative bloggers and news outlets commented on how Modern Family ”mocked” the president’s signature health care reform, the Patient Protection and Affordable Care Act from 2010. The conservative website RedAlertPolitics expanded, writing: “even liberal Hollywood writers can’t escape the reality that is the expensive repercussions from Obamacare”. Others took to social media, within days several clips of the scene had been uploaded to YouTube and comments written on Twitter.
Commentators connected the joke to earlier reports of advertising plans in connection with the roll out of the online marketplace for the medical coverage in California. The New York Times had reported that suggestions from the Ogilvy Public Relations Worldwide agency included having prime-time television shows, explicitly naming Modern Family and Grey’s Anatomy, incorporate the health care law into their storylines. The news of the plan was initially met with skepticism among conservative news outlets, criticizing viewers being “force-fed pro-Obamacare propaganda”. Following the Modern Family episode with the comment on the health care law these same voices gleefully saw it as a backlash towards the attempted marketing campaign.
It seems to me that the timing is right for an unapologetically mercenary post that plays with both my innate passion for making lists and my desire for starting arguments. This means that this post will be more self-indulgent than usual. –how can that be?
Here is what I propose: a three-part series that argues not for the twenty-five most important American film comedies but, more specifically, the twenty-five most important American film comedy scenes as represented by screenshots. By “important,” I mean “iconic,” “seminal,” “best,” “most hilarious,” “provocative,” or, in other words, “my favorites.” They should be yours, too.
I intend to start with 7 screenshots that indicate essential comedic moments in American film history in this the first of three posts on the topic. I hope to encourage others to chime in with their favorites by commenting on this post and, ideally, including links or files with the screenshots they suggests. I will follow in subsequent posts with the growing list.
For now, the images are not ranked or presented in any order other than my impulses as I think of them or run through my library of screenshots. In the end, I may try to rank them just for the hell of it.
Here are the first seven:
From Charlie Chaplin’s Modern Times. In perhaps one of the most iconic moments in film comedy history, the Tramp is consumed by the industrial machine but continues to perform his job. It is a concise but cogent statement of class tensions and the perils of the “factory worker” caught in the cogs of industrialism. It is so iconic that one cannot talk about it without puns and symbolic flourishes. See above.
From Frank Capra’s It Happened One Night. This first appearance of Clark Gable’s torso provides more than the titillation that such a statement implies. The scene is a remarkable and intricate power struggle between two formidable performers in a comedic gem. The scene, the film as a whole for that matter, would go one to influence the romantic comedy formula to this day. If he had only tried a similar approach to Scarlett.
From the Marx Brothers’ Animal Crackers. This is a shot from the big finale scene wherein everybody gets on stage like the closing of a Rock and Roll Hall of Fame awards show–lots of folks on the stage but with only a few who do anything worthwhile. In this case, that is fine because it is the Marx brothers who demand the attention in every scene. This scene demonstrates the wonderful comic interplay between the brothers but also mocks the pretensions of respectable society and the smug coziness of the officer’s advice to the subversive Harpo.
From Stanley Kubrick’s Dr. Strangelove. This panoramic shot of the big board and the big table captures a more elaborate scene that the other screenshots selected. It is meant to imply the entire sequence of the power brokers at work to save the world–or at least themselves. In short this shot cuts to the core of all American satire by implicating the inherent horror of a star chamber, no matter how comic.
From Mike Nichols’s The Graduate. This is the money shot–well, that sounds wrong. What I mean is that this shot has its own iconic status and provides the core symbol for both the dramatic and comedic aspects of the film. The triangulating power of Mrs. Robinson’s leg, and little big man Benjamin trying to keep up.
From Harold Ramis’s Caddyshack. No apologies for this one. This shot is from arguably the most concise illustration of the American dream at work in the mind of an inherent loser. Yes, Cinderella is the most American of the European fairy tales. He is the working man dreaming of a Masters championship when all he will end up with is more work replacing the flowers he is destroying.
From The Coen Brothers’ Raising Arizona. This shot is a shot within a shot. The McDonnoughs try to record for posterity their new family portrait, complete with their freshly stolen child. “It’s about to pop, honey.” As we say in the business, this is funny.
Please send suggestions for other essential screenshots via comments to this post.
One of the primary concerns of those who have fallen victim to the satire of political cartoonists is that there is no way to refute the allegations that the artist has suggested in the cartoon. It is why newspapers receive angry letters and cartoonists receive threats. That is also why riots erupted in the Middle East over the Danish Mohammad Cartoons which were published in September 2005 (the riots happened in 2006, so there were other dynamics at work as well). Cartoonist Steve Bell put it this way, “There is no comeback. It confirms me in my belief that since most of us lack the capacity to answer a cartoon with a counter-cartoon, the cartoon target’s frustration and sense of impotence may be what leads to implosion.” That is true most of the time. However, the unfocused cartoon is not impregnable by prosaic argument.
If a cartoonist cannot come up with an idea to specifically criticize or goes on a long weekend and must fulfill an obligation to his/her editors/syndicates, it is very likely that the resulting image will be so generalized that it can be plugged into any situation and impress only those who are staunchly opposed to the object of the criticism. Take the following recent cartoon by Bob Gorrell for example:
By Bob Gorrell – October 17, 2014
The “O” in “incompetence” is drawn like the symbol of the Barack Obama campaign. So, does the artist suggest that everything Obama does is incompetent? Does that extend to his golf game and basketball skills? Has he proved himself incompetent in all of his administrative duties? How far back does the artist suggest that his incompetence extends? Does it extend to the Benghazi incident? Does it extend to his ordering of the assassination of Osama bin Laden?
It is time to jump on the Marc Maron bandwagon. Really. Do it right away because, well, things could go bad at any moment. I know this because I have been following Maron for almost six months now. Six months of unadulterated laughter at a guy who builds his material on the core fact of his life: things could go bad at any moment. Maron is having a good year in the public realm. He is making money and getting praise from critics and new fans alike. And it is all deserved. He is provocative (which means he is funny but pisses people off) and likable (which means that he is funny but people feel sorry for him). Maron has already earned some attention on HA!. For two excellent pieces, see: Matthew Daube on Marc Maron; ABE on Marc Maron.
He is cooking on all burners, putting out wonderful material in the last couple of years: Thinky Pain, an album and concert video on Netflix) and This Has to Be Funny being released in August 2014, Attempting Normal, a book with solid praise thus far, and Maron, the wonderful television show in its second season on IFC and available on Netflix.
Here is a brief scene from the sitcom Maron as he interviews C.M. Punk: Interview with C.M. Punk on Maron
He is an overnight twenty-five-years-in-the-making success. And the time to jump in an enjoy this dynamo is now because, well, who knows what is around the corner? He’s just a guy trying to be an adult, OK? Sometimes it goes well. Sometimes, not so well. Maron has found a way to make his pain pay. (He just got $ 4.99 from me for a premium membership of WTF). The podcast started in 2009 and still runs out of his garage. In spite of this humble setting (or related to it, perhaps), Maron draws in some of the biggest stars of comedy and Hollywood, as well as in the music industry. Here are a few of his guests just from the last few months: Josh Groban, Billy Gibbons, Vince Vaughan, Ivan Reitman, Lena Dunham, Laurie Kilmartin, and Will Ferrel, and so on. WTF is an ideal text for studying the state of American humor. I would consider it a valuable (perhaps essential) forum for anyone interested in studying/learning the craft of American stand up comedy and its interdependence on all facets of American pop culture, especially music.
Over the last several years, Maron via WTF has steadily put together a remarkable collection of interviews of some of the best comic minds of our time, along with a wide array of other artists of varying interests. If you have yet to listen to WTF, well, wtf?
Just this past week, WTF hit its 500 podcast. Here is a link to a list of the episodes and the guests: WTF Episode Guide. The most recent 50 are available free via the the app or online here: WTF Podcast Home
Rolling Stone (Rolling Stone Article) listed Maron as on The 10 Funniest People, Videos and Things of the Coming Year in 2011. In this brief article, Jonah Weiner calls Maron an “acid-tongued rage-prone satirist.” That is just the thing. Maron causes critics to use hyphenated terms to describe him. He is THAT good. Actually, Weiner makes the right call as he talks about WTF as his most important work to date. He calls it a “series of unvarnished shit-shoots with comedians that move from laugh-geek joke autonomy to quasi-therapeutic venting.” Geez, three more hyphenated terms in one sentence. Do you see what Maron can do? I did not know how important hyphens were to Rolling Stone, but I digress. Underneath the god-awful (hyphen!) phrasing of the description is a crucial point.
WTF balances formidable discussions of the craft of humor (what Weimer calls “joke anatomy”–what? no hyphen?) and psychoanalysis, all of which teeters on disaster at any given moment, and all of it thoughtful. Marc Maron is a funny comic writer; he is solid performer in his sitcom; and he is compelling on stage, but he is a master of the interview. He does not know why. In the 500 episode he acknowledges the praise for his interviewing skill but seems baffled by how it came about. It reminds me of the anecdote about Bob Newhart, a master of stammering timing. Newhart, when asked how he managed to so perfectly create the illusion of talking on the phone, for instance, responded that he simply waited the amount of time it would take for someone on the other end of the fictional conversation to say something. Brilliant. Newhart deflects any praise for his skill and pretends that his timing is innate and open to anyone. Nah. Newhart has it; Maron has it, too. It has something to do with talent, but it is also a work in progress. In either case, Maron comes across as genuinely curious about how his guests struggle with craft (whether it is comedy, music, acting, writing, whatever) AND their inner demons. And he gives them the space to explore the humor and challenges of both. He also makes them talk about his own issues. Maron has issues.
In the New York Times (Jan. 2011; NYTimes Article on Maron), calls him “angry probing, neurotic and a vulnerable recovering addict.” Well, American comedy, right? He has been called a mix of Woody Allen and Lenny Bruce, which is both accurate and too easy. As he states in his introduction provided on the WTF website, he prefers the combination one of his fans provided: an Iggy Pop Woody Allen. Yes, American comedy of anxiety with a punk ethos. To give you a taste of this Maron mix, note the following three quotes included in the banner for the “about” section of the WTF website:
–“TV is great because no one knows when to retire and you can watch the full arc of success, sadness and decay.”
–“I’m glad to be part of the war on sadness. I’m a part time employee of the illusion that keeps people stupid.”
–“In most cases the only difference between depression and disappointment is your level of commitment.”
It’s time to jump on the Marc Maron bandwagon with a deep level of commitment. I just paid five bucks for premium access for the next six months. And I am looking into a 20 dollar mug.