Jaime Weinman is a critic (and my friend) who has an astonishing knowledge and understanding of TV and pop culture. I love this post about “comedy writer jokes” in The Simpsons, prompted by the DVD release of Season 12 this week.
Most comedy writers loathe analyzing jokes, feeling you kill the magic by dissecting it. But I find it really interesting, especially when, as here, there’s trenchant analysis of jokes — that comment on jokes — for an audience of joke writers.
Jaime points out that by Season 12 on The Simpsons, writer George Meyer’s style was predominant, and that style had less to do with the character-based situational comedy that sit-coms are founded upon and more to do with a quirky, meta, layered, self-reflexive, post-modern wordplay.
It’s sort of a joke about a joke, where the humour is supposed to come not from the characters and their reactions to their situations, but from the writer’s attempt to put his own ironic twist on the thing you might expect to hear in that situation.
The example I always use from season 12 of The Simpsons – I don’t know if Meyer came up with it, but it certainly is a Meyeresque joke — is when Grandpa Simpson says that he was such a great grifter in his youth that “They used to call me Grifty McGrift.” The line is supposed to be funny because it’s not funny, because in a spot that normally calls for a funny turn of phrase, the writer could not come up with any turn of phrase at all, and just repeated the word “Grift” twice. Another favourite George Meyer joke technique is to have a character describe a plan as “Operation ______” and then fill in something that’s just a straight, prosaic description of whatever he’s going to do: “Time for Operation Mail-Take.” “Now for Operation Strike Make-O Longer.” “Now for Operation Christmas-Remind-Her-Of-How-Good-Is.” (A George Meyer line that was cut from an early episode, according to a commentary, was “You couldn’t find Mr. Burns’ inner goodness with a Mr. Burns’ inner-goodness-finding-machine.”) It is not really a joke, it’s, as someone else put it, a parody of bad writing. And that’s why I think of it as comedy-writer comedy, because it references their own struggles in coming up with jokes and their own intimate knowledge of old joke structures. It never once sounds like anything an actual human being might say. This also applies to jokes that are based on the assumption that it’s funny to hear a deliberately awkward turn of phrase, like “Don’t worry, I’m not a stabbing hobo, I’m a singing hobo,” or “She changed her name to Appleseed and her family changed theirs to Buffalkill.” The main joke there is just that it sounds a little weird.