Katrina’s argument seems to be based on the idea of Punching up vs Punching down when it comes to comedy. Although this is for sure a real concept I believe Cassar to be mistaken when viewing comedy as only serving that particular function. This notion presupposes that every joke is predicated on the idea that the target has more power (punching up) or less power (punching down) than the comedian. Essentially it is viewing the relationship between a comedian and the target of a joke as one solely based on power.

This is wrong on a fundamental level as viewing that relationship as purely power based comes with certain implications that are not entirely true. Power, in its truest sense, is the ability to manipulate and/or control someone else’s behaviour. Therefore, to say that one person or group has more power than others is to say that it has more control over them. This is fundamentally wrong as human relationships are not based on power.

However for the sake of debate, let us say this is entirely the case and comedy either punches up or down and nothing else. Then are we going to cease to make jokes about the less powerful? And what precisely categorises the less powerful as such? Is it socio-economic status? Is it an oppressive history? Are those less powerful permanently so or can that change? There is a level of irony that comes with protecting groups from jokes. If you want to hold people accountable and do that through comedy, the moment you protect a group from comedy, you are elevating it above the rest. Therefore, actively discriminating against both groups.

I disagree further with Katrina’s idea that comedy has always been political. Even though at some moments it can be. Viewing it as a weapon of sorts to combat differing political ideologies takes away from its value as an artform. Comedy is much more of an artform than it is a political tool or weapon.

It is well and truly clear that political correctness in comedy has gone too far. You get comedians cancelled and censored on social media because of jokes they made up decades ago that we considered fine until some twitter warrior decided to get outraged. If it somehow is not clear that PC culture has gone too far for some, maybe they should posit the question that it has not gone far enough for their own liking.

I fully believe that aiming to protect “the less powerful” from comedy targeted at them sets a dangerous precedent. Firstly, one must define exactly what they mean by less powerful. On what would you base that? Is it race or sex or gender or sexual orientation? If you were to automatically assume that because of someone’s race or gender they have less power, then is that not precisely the discrimination you were advocating against? It is already faulty to view that relationship based on power. But assuming one has less power because of race or gender is nothing but the soft bigotry of low expectations.

Joking about harmful stereotypes does not reinforce them, it ridicules them. This is what I believe the author here has not grasped quite well. She argues that making jokes about a less powerful group reinforces those stereotypes. This however is completely wrong in my view. Being able to ironically point out the stupid and illogical nature of a stereotype and make it funny, discredits that stereotype. Think of it as making fun of yourself. It helps you cope with your own insecurities. Laughing at what plagues you is what makes you unbeatable. Because if what damages you can’t bring you down, then what will?

Attempting to protect a certain group from being made fun of is not compassionate, it is tyrannical. A king becomes a tyrant when he can no longer stand the fool. It is discriminatory to exempt a particular group from jokes and it is NOT discriminatory to let everyone be hit by them.. Comedians should be able to mock and satirize about whatever they please. If done well, they should get their credit. If not, they should be criticised. But cancelling them? What does that achieve?

In a passage Katrina writes “It can reinforce harmful gender norms and contribute to violence and abuse.” This was the part which I do not really understand. Is the author implying that jokes contribute to violence and abuse? Where is the evidence for this? How does it do so? What are these gender norms? In that paragraph the author mentions terms and buzz words but does not elaborate to really let the readers picture how jokes can have this effect.

Lastly, if one was to propose protection from jokes for a particular group than it is fair to say that one does not want equality between those groups. If one is advocating for special treatment than that goes against everything Liberals used to believe in. Equality means putting everyone in the same boat. Comedy is no different. So, if you want equality, you have to accept it in all forms.

This article was written by an independent writer whose views are not associated with The Third Eye. The Third Eye strives to be the student’s voice, and that entails giving them a platform to voice their opinions.

The post Political Correctness in Comedy: A Rebuttal appeared first on The Third Eye.

One of the key issues in this debate is the idea of “punching up” versus “punching down.” This refers to the targets of a comedian’s jokes: “punching up” means making fun of people or groups that are more powerful or privileged than the comedian, while “punching down” means making fun of people or groups that are less powerful or privileged.

The concept of punching up and down is important because it reflects the power dynamics in society. When a comedian makes fun of a powerful group, they are using their humour to challenge the status quo and hold those in power accountable for their actions. This can be a powerful tool for social change, as it allows comedians to use humour to highlight issues that might not otherwise receive attention.

However, when a comedian makes fun of a less powerful group, they are using their humour to reinforce existing power imbalances. This can be hurtful and offensive and can perpetuate stereotypes and prejudices. For example, making fun of marginalized communities such as racial minorities, LGBTQ+ individuals, or people with disabilities can reinforce negative stereotypes and contribute to a culture of discrimination and exclusion. Furthermore, if a comedian makes misogynistic or homophobic jokes, it is likely that some members of the audience will be offended or feel uncomfortable. This can lead to a sense of alienation, and may prevent them from enjoying the rest of the comedian’s set or returning to future shows.

When comedians make jokes about misogyny or homophobia, they can contribute to a culture that normalizes this kind of behaviour. This can make it more difficult for individuals to speak out against discrimination or harassment, as it may be seen as “just a joke.” Misogynistic and homophobic jokes can also contribute to a toxic culture of masculinity, where aggression and dominance are seen as positive traits. This can be harmful for both men and women, as it can reinforce harmful gender norms and contribute to violence and abuse. Moreover, misogynistic and homophobic jokes can damage the reputation of comedy as an art form. If comedy is seen as a medium that perpetuates harmful stereotypes and discriminates against marginalized groups, it may be seen as less legitimate or important than other forms of art.

It is important to note that not all male, straight comedians make misogynistic or homophobic jokes, and that many comedians are actively working to challenge harmful stereotypes and promote social justice. However, it is also important to recognize the potential harm that can be caused by these kinds of jokes, and to call out comedians who perpetuate harmful stereotypes or engage in discriminatory behaviour.

So, what does this mean for comedians? It means that they need to be mindful of the power dynamics in their jokes. While they should always aim to be funny, they should also be aware of the impact their humour can have on different groups of people. It is possible to be funny without being offensive, and the best comedians know how to walk this line.

Sitcoms such as Family Guy and South Park are often able to get away with offensive humour because they are seen as satirical or subversive in nature. These shows often use humour to comment on social issues and challenge cultural norms, and they do so in a way that is intentionally over-the-top and absurd. This can create a sense of distance between the humour and the reality it is mocking and can make it easier for audiences to accept offensive jokes as part of the show’s overall tone and style.

There are a few reasons why sitcoms like Family Guy and South Park are able to get away with offensive humour more easily than other forms of media. For example, because these shows are animated, they can get away with more extreme and graphic content than live-action shows. The cartoon format allows them to depict violence, sex, and other controversial topics in a way that is less realistic and more exaggerated, which can make it easier for audiences to accept.

Of course, not everyone agrees on what is and is not acceptable in comedy. Some argue that political correctness has gone too far, and that comedians should be free to make fun of anyone they want. Others argue that comedy has always been used to push boundaries and challenge social norms, and that political correctness is stifling creativity and humour.

However, the reality is that comedy has always been political. It has always been a way to comment on the world around us and challenge existing power structures. The debate over political correctness in comedy is not a new one, but it is an important one. As we continue to evolve as a society, we need to be mindful of the impact our words and actions have on those around us, and comedy is no exception.

In the end, the key to good comedy is empathy. A comedian who is able to put themselves in the shoes of others and understand the impact of their humour is more likely to create material that is both funny and socially responsible. It is possible to be edgy and provocative without being hurtful or offensive, and the best comedians are those who are able to strike this balance.

So, as we continue to grapple with the concept of political correctness in comedy, let us remember the power of humour in bringing people together and challenging the status quo. Let us be mindful of the impact our words can have and let us strive to create a world where everyone is free to be themselves, both on and off the stage.

This article was written by an independent writer whose views are not associated with The Third Eye. The Third Eye strives to be the student’s voice, and that entails giving them a platform to voice their opinions.

The post <strong>Political Correctness in Comedy: Punching Up vs Punching Down</strong> appeared first on The Third Eye.

Upon meeting Ed Vassallo, you will learn three things about him.

1. He is (quite) funny. This is stating the obvious because, you cannot really be a stand-up comedian without being a tad humorous.

2. He is most certainly creative. You can throw anything at him and I can guarantee that he WILL make a joke out of it. 

3. (This is probably his most likeable quality) He is resilient– this guy does not give up. “It’s one of the reasons why I haven’t given up on my ex yet,” Ed teased.

Besides being 18, bartending at two of Valletta’s most prominent bars- The Pub and The Beer Cave and studying accounts at ACCA, Ed also does stand-up comedy. Although his goals do include the concept of being Malta’s first stand-up comedian to make it on Netflix, he tries to remain as realistic as possible. So, accountings’ on his main agenda and comedy’s his side hustle (for now).

Ed and Comedy- THE OTP (one true pair)

Comedy is a medium that allows Ed to overcome his insecurities. He always struggled with his body image, but comedy unleashed the confidence he didn’t know he had within him. Now he just owns ‘being Ed Vassallo.’

When he is performing, he isn’t that awkward guy at the back of the bar, wondering how he’s going to chat up the cute girl on the other end of the room. “The spotlight and the mic in my hand gives me a kind of energy I can’t replicate anywhere else. I’m super cocky and confident… and I love it”

It has always lurked around in the shadows of Ed’s life. When he was a young boy, he would try to hold back giggles as Frankie Boyle made dirty jokes. Hoping that his father wouldn’t find out that Ed knew what ‘cunt’ meant! But Ed’s comical love story really began at the ripe, young age of 17 and he has been hooked ever since.

What started out as a chance encounter involving a bar, a microphone and some free drinks as compensation for Ed’s time has blossomed into a deal with the Clueless Comedy Collective. This sweet deal involves gigs and shows all over the island catered to a wide variety of people; even a couple of British expats which he met in a bar in Buġibba.

A lot of the gigs Ed has done are free of charge- and this is one of the main challenges that he faces as a performer, but he is more than happy to push through this barrier because it’s a huge passion of his. “The fact that I can make people’s day better because of a joke is wonderful”, Ed told The Third Eye.

What is Stand- Up Comedy?

“It’s when you tell a joke and you’re not in a seated position.” Ed uttered cheekily.

Essentially, it’s a form of storytelling done through the medium of jokes. Ed likes to start his night out with a couple of one liners- just to slip a little dirty dad jokes. Ed’s manager at the Clueless Comedy Collective (CCC) says that his music is the only reason why they keep him. Ed integrates his guitar, little ukulele, harmonica and even the drums (BaDumTss) into his performances. I must say it’s quite a treat. (His song, ‘Prison Rape’ is my personal favourite).

Check it out here:

But at the heart of the matter, as Ed told us, “stand-up is all about seeing people smile and laugh. The happiness it gives me is addictive and I never want to get off that stage.”

But sometimes gigs fall flat. Things like poor turn out, unresponsive audience, negative remarks and  jokes that don’t land are all realities which stand-up comedians like Ed must deal with. Especially in a place like Malta where the stand-up community is so underground, it is inevitable. “When you’re in the zone and you’re having a really good gig, you will be funny. But when you’re having a bad gig and everyone is just looking at you, it’s difficult to improvise and I’m shitting myself on the inside,” Ed shared with The Third Eye.

So, how do you pick yourself up when nothing seems to be going right?

“When I know that it’s a shit show and I’m tanking it, I just have to power through”, Ed answered and followed up with a little wholesome advice…

“Don’t listen to what anyone says. If you think you’re good, just keep believing in yourself. If these people don’t like what you’re doing, another group of people will for sure. The world is huge, around maybe 7.7 billion people (at least that’s how many it was the last time I checked). There will always be someone who finds you funny or finds your music good or your poetry nice. Even if it’s just one person who sees your work and says, ‘yes I can relate, and this made me feel better’, then that’s a job well done as a creator.  You’re expressing your emotion and experiences through your work and your allowing others to feel good about it in the process so it’s a very positive sort of thing.”

So, what’s the morale of Ed’s love story with comedy?

“Always try to be positive. There is too much negativity in the world, so don’t let it get you down,” Ed concluded.

Don’t stop yourself from doing what you love, just because a couple of people might not ‘get it’. Keep being authentic to yourself and doing what you love- even if it defies the stereotypical text- book!

The post Ed’s story: growing up with comedy | ATG appeared first on The Third Eye.