As we crest over the middle of November, so too does the investigation into satire continue.

Other genres follow the familiar story progression (exposition, rising action, climax, falling action, conclusion), while satire takes the episodic approach. There are some that include the buildup of tension into a climactic event as usual, yet the primary model is a buildup of comedic effect. The scenes and episodes create humorous elements that leads to the equivalent to a climax: the punchline. The reason for the satirizing, and the point it leaves.

Throughout Douglas Adams’s The Hitchhiker’s Guide to the Galaxy, the characters contribute to the philosophical search for meaning. Understanding Life, the Universe, and Everything is the goal, from regular to cosmic beings. The most recognizable joke from the novel is the computer’s calculation to the meaning of it all: the number 42. Which, in code, stands for an asterisk (*), which also in turn stands for the phrase “whatever you want it to be.” A programming joke makes a simple point–that life is best when you decide what to do with it–that goes over the heads of the Magratheans.

In short, they ask a computer (named Deep Thought) to decipher meaning, it gives a computer’s response, and they do not understand the implications. Upset at not being told what they want to hear, they strive to build a machine that does. Making the most of life is not enough for them.

A snarky yet astute commentary on close-minded philosophers.

Voltaire’s Candide follows a similar pattern. The true “climax” or “punchline” of Hitchhiker’s Guide was when the above capstone information was received. For the Frenchman’s work, the ultimate pinnacle of its satire is when the titular character abandons his optimism for a more pragmatic mindset. “We must tend our garden,” he tells Pangloss, a statement about taking responsibility instead of expecting everything to turn out for the best. The ultimate evisceration of Leibniz’s philosophy, where the horrid reality reveals the naivete behind zealous positivity.

Martin (akin in many respects to the android Marvin) provides the pessimistic antithesis, creating humor as the caricature of negativity is more aware and sensible about the atrocities of the world. Only after hearing Pangloss’ foolish excuses, attempts to force the events to fit his outlook, does Martin’s influence on Candide become fully apparent.

In this case, the punchline takes the form of character growth, fair to the episodic story by sticking to the person that is always there.

The philosophical works pull off this culmination of meaningful humor, yet parodies express this in their own unique ways.

Monty Python and the Holy Grail may have a plot climax at the bridge scene, yet the comedic payoff plays out across the ending. The swallow, French Knights, and police all play the built up role for humorous plays. The ultimate joke, however, is that King Arthur and his knights fail just as they do in the legends. While the final moments leave an unsatisfying conclusion at the very end, it still gives the parallel to the source material: serious Arthur loses for serious reasons, silly Arthur loses for silly reasons.

And when a fictional king is subjected to ridicule, this typically represents a joke on leadership. Arthur’s lack of expected kingly qualities (fairness, justice, and dignity) has us consider how few actual monarchs in history espoused these traits. Lancelot’s bloodlust show us why knights existed in the first place, warfare, and reveals why romanticizing these times does a disservice to its victims. This parody of medieval idolization is more realistic than other portrayals of the period, and the flaws of the comedic characters are fitting.

Mel Brooks’s Spaceballs does not have an exact punchline, following the traditional story structure (with Mega Maid the climax). Its goal is to make fun of sci-fi movies, not even to provide criticism of the genre. Yet it is too on the nose on that, imitating the source material too much, for there to be any commentary on the genre it targets.

This lack of a punchline makes it a weaker satire, where all the effort from the buildup amounts to very little. Using slightly different character names and events does not lend enough to be clever, and the dumb jokes only make the movie bearable when intoxicated. It sets a low goal for itself (be a comedic version of beloved sci-fi films), and does not fully accomplish even that.

Compare to South Park, an animated show that surpasses the aforementioned parodies in terms of ridiculousness, yet ends up being the smartest in its own way. The episodes always contribute to the same punchline: people. The nonsensical way that characters in the show act, or the bizarre consequences from the chain of events, pale in comparison to the decisions of real people.

In “The Coon” trilogy, they satirize the BP Oil Company’s response to them spilling in bodies of water. In “Informative Murder Porn,” they make fun of parents’ concerns for the media their children interact with, by putting the parents in the position of kids’ monitored activity. In “With Apologies to Jesse Jackson,” they mock people who gain publicity for racially inflammatory behavior. And while the events seem exaggerated at first, the real joke is the mindset behind what they are targeting. Lack of responsibility, parents judging their kids while they themselves view worse things, and careless/casual discriminatory actions so brazenly displayed.

The episodes change every year, but the spirit of the comedy remains unchanged. It knows how people work, and creates strong allegories for the points it wants to get across.

Most of these examples showcase how reality is more strange and contradictory than fiction, and have us consider the ridiculousness of our own world. Brilliant satire leaves the reader/audience with these considerations.

Not so much the particular plot style of up and down a hill, the constant rise of the satirical staircase story arrives at the punchline at the top. The most effective ones weave it in so well, it speaks for itself.

What are some of your favorite moments in satire? Which parodies succeed or fail, in your experience?

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