Fools' Logic

Every so often a whole generation seems to 'happen' almost overnight. The process has always intrigued me, partly because I have a special interest in process but mainly because it happens in so many completely different situations and is not just limited to social and culture-bound phenomena. Metal, under pressure, will bend a certain amount before a catastrophic snap. Indeed the structure and nature of scientific revolution has been that a theory holds until it is discredited and replaced. Once that happens, everything changes. As they say in the Catholic Church 'Everything is prohibited until it is compulsory.'

This article is about just a tiny aspect of that idea and it is inspired by a television programme I saw last night. The programme charted and analysed the changes in comedy in British tastes over the past 40 years or so. Like so many programmes at the moment it seems to begin from an assumption that history began in the 1970s and then changed dramatically in the 80s. In truth, the natural starting point for modern history is obviously 1945. However, I digress.

The theory of humour ran thus: In the 1970s comedians were racist and sexist as were the population at large and, therefore, made humour out of hurtful jokes at the expense of the persecuted minorities. In the 1980s, on a wave of political correctness, the mainstream was challenged by a huge influx of politically aware 'alternative' comedians, including women and black people. This was so successful that it became the mainstream. Obviously, a new minority had to be found, not least because the young people of the day needed to laugh at something their parents could not understand. This emerged in the form of Reeves and Mortimer who managed to find a 'middle way'. This new style was to make humour out of nothing in particular, much of the emphasis being visual and at times surreal. It also achieved a more unifying atmosphere allowing the present generation of comedians to express their indebtedness to Reeves and Mortimer without putting their illustrious predecessors out of business. The most successful example of modern comedy, as cited, was 'Little Britain'.

For the benefit of readers from outside the shores of this fair land let me explain what you might expect from 'Little Britain'. It is full of characters who express the worst prejudices and political incorrectness you can possibly imagine. Sexism, racism, classism, genderism, you name it, they express it. Now, we are told that this is funny because it is so obvious that these characters are not real that this makes it alright.

I'm afraid this fools' logic escapes me. I cannot see the connection with the innocent frolickings of Reeves and Mortimer. This is not a progression from the past. This is revolution. The new generation sweeping in a new set of parameters. What is so very worrying is that a huge number of mainly young people obviously find it hilariously funny. These are people who cannot remember how prejudice was justified back in the 70s. Modern comedy is, in truth, pushing the boundaries of control to see how much it can get away with before someone comes along and imposes some restraint. Do we have a generation out of control who are so arrogant they feel they can justify parameters of intolerance with the overall message of our time - 'I can say what I want, do what I want and think what I want.' Dear God, how do we stop them?

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Pierre