The ongoing discourse about “cancel culture” and how to “take a joke” provides a chance to reflect on our continuing evolution.
All humor is based in pain. Much of it, in the pain of others. As Mel Brooks famously said, “Tragedy is when I cut my finger. Comedy is when you fall into an open sewer and die.”
Humans are always evolving as emotional and social creatures, always learning more about ourselves as individuals and a group, always moving forward. This means that some things lose their humor over time, again among individuals and in the culture at large.
One of the shifts we’re currently seeing is away from the schadenfreude of humor – the taking delight in someone else’s harm, rather than laughing with them and thereby at least in part at ourselves.
Consider the movie “Airplane!” There are three classic scenes in this movie, which still are funny in my opinion but would never get filmed in 2022: the “jive dudes,” the little girl with the coffee (“No thanks, I take it black. Like my men.”), and the panicking passenger getting the crap beat out of her. These scenes still play funny to me, and from what I see online people in 2022 watching them still laugh, if with a bit of cringe at the little girl.
If you tried to put the jive dudes over as original work in a script today it would be shot down. Appropriation, patronizing, othering, racism – is it? or is it a joke on racism? or simply a bit of fun with caricatures of cultural difference, and the ‘racist’ aspect is something we’re superimposing because the men are black and they’re using a parody (they made up the lines) of what was called “jive” in the 70’s and we’d now call “African American Vernacular English” after figuring out “ebonics” wasn’t cutting it? – and great white hopes, portrayal of black men as incapable of communicating “properly.”
If my job is to vet project content for the probability of negative publicity I’m all over this, here in 2022.
Nobody – nor nearly nobody, I haven’t seen anyone take it on – is trying to “cancel” that retroactively, but if you tried to put it through a studio today they’d never let it pass…and it quite likely *would* create a bunch of rancor on social media as people debated whether Mrs. Cleaver was really an avatar for white supremacy.
The argument has merit, although I’m not sure you could really bring it home conclusively. You could make it strongly enough to cut the scene today using today’s values and mores, is the point.
This is the evolution of humor. We understand in 2022, because of 42 years of discourse between that scene and now, that while there is still humor there it’s also important to hold the ugly part to account and talk about it and understand it and maybe it evolves into something where perhaps if someone rebooted it today it’s more the white stewardess who couldn’t understand “jive” that’s the butt of the joke, something to mitigate the implication of punching down in the original.
I’m not trying to kill or cancel that scene, but I’m trying to say that humor, like all creative expression, *evolves* and when it evolves it’s generally because enough people finally figured out that the pain contained within some humor is a weapon, not a release; that people can truly be hurt by our words and portrayals of our perceptions of them so maybe we should try a little harder to not be dicks.
When I hear comedians, especially people like Bill Maher and Dave Chappelle who have been to some extent taken as progressive thought leaders, going on and on about “cancel culture” and “nobody can take a joke anymore” even as they crap all over everything people liked about them, what I hear is people who have become lazy, complacent, and selfish. They want to coast on EZ mode, doing the same routines (or at least sticking to minor variations on the same proven themes) over and over, while the audience is moving forward without them.
Humor is an expression of pain, and there are ways we can joke and reflect on being human and feeling pain, without inflicting it. With that said, those ways are going to change and shift and evolve too, and maybe something that’s pitch perfect today will be seen in twenty or forty years as almost criminally obscene, for better or worse, right or wrong.
Our job as people is to make sure we’re honest enough with ourselves to, in those moments, own our errors and do our best to set them right. Some of that has to do with the nature of our harm perception in retrospect; it’s hurtful but does it do harm? It’s hurtful to sexualize a pre-adolescent girl for humor, but was she harmed by it? Traumatized? (Did she even get the joke? And by the way, is it funny or not? Why?) What about the social impact, do we think there was a spike in human trafficking of little white girls to Africa in response to the coffee joke? (Let’s not forget the racism in play here, too.) The most likely reasonable answer to those questions is “no.”
Oh, just remembered the whole bit with Peter Graves and “have you ever seen a grown man naked?” Have to include that one, in this discussion. (Similar to the ubiquitous racism in two of the clips above, that one catches the casual homophobia prevalent at the time too.)
The entire humor in both of those bits is the uncomfortable, inappropriate tension. That’s the whole thing about it that makes you laugh. But it is too inappropriate to even tell the joke, in the light of our evolving understanding?
These kinds of questions are *always* in play. For instance I’m not sure George Carlin’s routine about the n-word is something he’d have done in the last decade of his life because we evolved to understand that word is hurtful coming out of a white mouth and directed at a black person, regardless of whether it’s “meant to be” or not. Carlin being a linguistic genius and also a bit of a trickster god on it, may have still done the bit…but I’m not sure. I think he would’ve put a great deal more thought into whether the joke (or the deeper points behind it) would be obscured or mitigated or negated by his use of that word, and most importantly whether his work could be used to “punch down.”
I’m glad to have cultivated an audience that seems to have a pretty good instinctive grip on where the lines are and why.
When you stick to principle – “don’t punch down” – you’re less likely to make even an honest mistake, one borne of naive ignorance rather than malice, that hurts someone, and less likely to be whining about getting “canceled” while you’re selling out venues and appearing on every late night talk show. It’s still not easy mind you – knowing when you’re punching down is a function of empathy, which is also always evolving and refining – but it’s a good basic principle, and if you keep it in the back of your head while you’re doing your thing you’ll probably avoid saying anything you’ll wish later that you hadn’t.
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We’ve always known that rich white men can’t tell a joke. Now we know why. They can’t punch up – there’s no “up” – they can only punch themselves in the face. And the odds of them doing that are 0.
That little girl in “Airplane!”? Where is she now? She HAD a successful career before that movie. Can you find anything – ANYTHING – to indicate that she even had a life after it? Isn’t it exploitative to have her say those lines – MORESO if she’s too young to understand them or consent to being used for that kind of humor?
We women are tired of being told we “can’t take a joke.” Or that we’re frigid bitches for not pretending to find men even mildly amusing for telling sexist, racist, homophobic, hurtful “jokes.” Nah, we have a sense of humor – we just don’t like THEM and we don’t have the energy to fake it anymore. Most of those jokes were never funny, and I guess we bear some responsibility for letting men think they were funny rather than us bearing the inevitable insults for being honest.
“Don’t punch down” is a fantastic rule.
The harm in the scene with the little girl is that little girls grow up – they should be allowed to be children and allowed to grow up – without that scene following them around for life, particularly as young women. If she didn’t understand the humor when she said it, she couldn’t give meaningful consent to any consequences.
In fact, after a “prolific career” (some 30+ acting credits by age 11) this was her last role and nobody seems to know a thing about her since the 80s. Maybe her parents managed her money well and she retired at 12. We can hope.