Article

Leviathan: Interdisciplinary Journal in English No. 2, 13-31 Painfully Funny: © The Journal Editors 2018 Reprints and permissions: http://ojs.statsbiblioteket.dk/index.php/lev Cringe Comedy, DOI: 10.7146/lev.v0i2.104693 Recommendation: Mathias Clasen ([email protected]) Benign Masochism, Human Nature and Pop Culture and Not-So-Benign

Violations

Marc Hye-Knudsen

ABSTRACT

Cringe comedies differ from traditional embarrassment humour by being explicitly aimed at evoking not just the positive emotion of amusement but also the decidedly negative emotion of vicarious embarrassment (i.e. ‘cringe’) in their audiences. Drawing on Warren and McGraw’s benign violation theory of humour and the concept of benign masochism, I offer a biocultural account of how they achieve this effect and why audiences counterintuitively seem to find it enjoyable. I argue that whereas a farce like Fawlty Towers (1975-1979) employs psychological distance in order to render its embarrassing violations thoroughly benign and thus singularly conducive to amusement, cringe comedies like The Office (2001-2003) and The Inbetweeners (2008-2010) comparatively decrease psychological distance in order also to evoke high levels of vicarious embarrassment. Finally, I argue that audiences find benignly masochistic pleasure in such cringe-inducing media because they offer vicarious experiences with social worst-case scenarios.

Keywords : cringe comedy; benign violation; benign masochism; vicarious embarrassment; humour; evolutionary theory; Fawlty Towers; The Office; The Inbetweeners; Human Nature and Pop Culture

Corresponding author: Marc Hye-Knudsen ([email protected]) Department of English, Aarhus University

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emotion case scenarios. - .’ 2010). This is the paradox of cringe comedy: shows like comedy: .’ 2010). cringe This of is paradox the Introduction

The Inbetweeners le’ (‘cringe, v ance we might maintain between the embarrassment experienced by a and

—a decidedly negative theory to explore the human preoccupation with storytelling, literature, and film. and literature, with storytelling, preoccupation to human explore the theory 2003) The and Inbetweeners

s experiences with social worst time greatest sitcom (Kitchener 2015), to confirm that embarrassment has always played played always has embarrassment that 2015), confirm to (Kitchener sitcom time greatest The phrase ‘cringe comedy’, however, that, than suggests something comedy’, dissolution more phrase ‘cringe a The of whatever dist character and an embarrassment that we somehow feel ourselves. darkIf or cruel comedy would we that something too of much us feel makes cringe then heart’ the ‘anesthetize to not feel at want usually all (2015). - means ‘[t]o experience an involuntary inward shiver of embarrassment’ or ‘to feel extremely

’s all It is therefore my purpose here to offer a biocultural account of how how of bioculturalcringe come a to offer account my purpose here is therefore It Since the 1990s, evolutionary the Since and approaches cognitive to the have been steadily arts gaining evolutionary psychology, to framework theoretical which through a evolutionary do so. provide comedies like The Office McGraw’s benign violation theory violation benign humour,McGraw’s of theory integrates previouswhich with research humour arguing that whereas a farce like Fawlty Towers benign violations conduciveand thoroughly its cringe thus embarrassing to singularly amusement, audiences would find them enjoyable. The concept of benign masochism coupled with Warren a masochism coupled with Warren The benign concept of them would find enjoyable. audiences should explicate not just how they evoke vicarious embarrassment in their audiences but why also audiences vicarious in their evoke embarrassment they how not just should explicate nment (9), and consequently and enviro with of relationship our evolutionary nment (9), consequently an study cringe comedies conceptual framework’ (2013, 9). We have evolved our basic emotions and preferences in an adaptive in an preferences emotions and evolved basic framework’ (2013, our We have 9). conceptual commentary on those commentary products lodged would benefit from explicitly being within evolutionary an toorder also evoke high of levels vicarious embarrassment and if the the if characterand theevolved of of mind products influences the t As Carroll writes, the biocultural approach is predicated on the idea that ‘[i]f the mind has evolved, that ‘[i]f idea on the mind evolved, is the has predicated approach biocultural the writes, Carroll As using evolutionaryusing The Office- (2001 vicarious embarrassment culture? in popular this trend curious traction. like Biocultural critics Boyd,Brian Joseph Carroll, Jonathanand haveGottschall long been cringe in pleasure such masochistic find benignly that audiences argue offer vicariou embarrassed or uncomfortab to cringe Like horror, cringe is then a genre defined by and named after the reaction it produces in its audience: in its it reaction audience: the produces definedand after by named genre horror, cringe is a then Like an integral role in British comedy. But as as Hunt in But Leon role comedy. notes: integral British an farce Fawlty episodic the look than no further need One Towers Britain In recent recent In one the of trendsyears, stranger in British been the television has rise of cringe comedy.

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ence instead of simply departing simply of instead ence 23). A joke, A 23). for theorized instance, is commonly an (3). violates expectation that its then punchline

ried out Warren McGraw by and have indeed proven the ing that departs from a person’s view of how things should things how of view person’s a from that departs ing sets up sets up successfully - adaptive action and cause physiological changes would have that together

nality nality Objection’: humour if consists violations of of our patterns,conceptual why do Benign Violations and Embarrassment Humour Embarrassment and Violations Benign humorous, and multiple studies car Another problem of the incongruity theory is encapsulated in what philosopher John Morreall philosopher in is what encapsulated theory incongruity the of problem Another The benign violation theory violation benign theory The builds incongruity upon the theory while the specifying conditions ontexts (13). This is what Warren and McGraw and to have amend. ontexts attempted This Warren is what (13). e face of incongruity (28). As Morreall notes, our conceptual patterns notes, conceptual incongruity Morreall our As of in (28). by either face provided the been and the physiological the and laughter,response of it is not obvious what yet benefit have would evolutionary promoted our fitness (28). When something is humorous, it causes the positive emotion of amusement positive the amusement emotion of it causes is (28). fitness humorous, our When something promoted calls ‘the ‘the Irratio calls e our during all, evolved Positive after 13). (2009, emotions, it find pleasurable? we motivate to trajectory violations necessary for humour must have a negative val negative a for must humour have violations necessary define a violation as anyth is non- benign (i.e. something that is not to be worried about). As Warren that point out, Warren the something As and is(i.e. worried about). notbenign to McGraw be is the humorousnot. considered To this,often winning lottery McGraw while for account and Warren differentiate what it what accurately is violation to humorous from a thus more definition of enables it is simultaneously asappraised a violation (i.e. thatsomething is wrong, or bad, threatening) and peel banana is on a slipping why hence from patterns, one’s mental expectations or incongruously usually Violations are. how departing existin from - non this they of kind also simply but they notare benigncontexts here therefore elicit negative emoti and like tragedy, Revisinghumour. theory incongruity the by including the condition of benignity and narrowing the its than 1 violation humour (2015, predecessor in theory accurate predicting more benign c more humour to precisely. According thefor violation benign is theory, humorous something theories of humour of theories in psychology philosophyand (9- scientifically obsolete, while variants of the incongruity theory have ne theory incongruity dominant on the while the of go obsolete, variants toscientifically become to sufficientanything close incongruity as conditions, seeing appearsalso non- in plenty of patterns and expectations (Morreall 2009, 11). The superiority and relief theory are largely largely are considered theory relief and superiority The 2009, 11). expectations (Morreall and patterns its set when funny to be humour, of describe may antecedent it not put theory an does incongruity forth the though However, ich espousers, wh notable holds humour that relies violationsupon incongruity, our of mental normal and finally, the finally, and theory, incongruity with Aristotle, Schopenhauer, Kant, and among Kierkegaard its (Hobbes 1651), which 1651), laughter victim; holds of some of(Hobbes towards superiority feeling is cause that the a s of nervou release repressed energy; sudden the holds involves that humour the superiority theory Historically, three theories dominated 1905),Historically, theory relief research: the humour have (Freud which

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and - taking with vicarious by violation benign most by a ffect’ can beffect’ provoked simply bonding exploratory play.bonding exploratory - lieve thelieve tension potentially by benigncaused 78). In their seminal seminal evolution their on the of work 78). In (

an propensity for empathy. In order to regulate social to regulate order In empathy. for an propensity barrassment humour. Embarrassment is a negative emotion humour. triggered barrassment negative is Embarrassment a argue that laughter originated as a play signal with an antecedent tumble play of violation to benign tumble of According the play (398). early humans

- and - Gervais and Wilson , and through the ‘intense dread’ of experiencing the emotion to deter us from repeating the the repeating us from deter emotion the to experiencing of the dread’ ‘intense through , and , However, for an embarrassing violation to be humorous it must simultaneously be appraised be as violationappraised for embarrassing humorous it toan be mustHowever, simultaneously From an evolutionary perspective, humorous amusement evolutionary the evoked an From violation benign theoryThe thus provides a framework firmly in grounded evolutionary benign, here and problembenign, a hum is by the posed interactions, humans have evolved a capacity for empathic perspective- emotional arousal (de Waal 2008, 285). This spontaneous ‘sharing of a contain the potential for humour in the form of a violation. a valenced of potential for the negatively in form humour the contain a social counterpart to physical pain such, As (526). situatio to physical ns counterpart social thata cause embarrassment clearly aversion as regarded even be may embarrassment this last regard, (Harris In in future 2006, 526). the offense social blunder to blunder social peers our through likeappeasement displays blushing, touching, face and gaze violated a social norm, social a evolvedviolated embarrassment in to spite signal our consequently ourprosociality of black humour). humour). humans such, black As allowed humour to re face the having of 2015, 110). In (Buss roduction that contribute rep toresources both and survival dignity (e.g., slapstick), communicative norms (e.g., puns and wordplay), and moral norms (e.g., wordplay), puns norms (e.g., and moral (e.g., slapstick), norms (e.g., and communicative dignity perspec others evolutionary an evaluation (Harris From negative 2006, 524). a by anticipate would be catastrophic, seeing as social status in turn determines who has greater access to key theory and(Warren 1142), 2010, theory McGraw situations the that would elicit humour then were human during kinds violations,expanded of like other evolution to include violations personal of spontaneous peer violations for and utilize them to instead which to understand em through violated social ourselves consequently inadvertently, a and norm often we having, appraise as when such peers negative evaluation our be a from by caused status potentially loss that could social of that constituted the rough that constituted the laughter and ‘protohumo and ur’ were laughter then elicit to the violations apparent first The physical(407). threats our laughter in turn recruits others to same do the inrecruits others turn laughter our violence fighting play into the actual that escalate could no misunderstandings occur ensuring benign, likely serves to motivate us to explore and play socially and cognitively with its implications while while with implications its and cognitively socially play and explore to us motivate to serves likely humour in panting the ‘play the manifested face’ vocalization of that accompanies ( chimpanzees play here and signals like indicate that laughter violationsall physical intended are and construed as how it came about through evolution (2010, 1142; 2015, 19; Warner and McGraw through about and 2014, 76- 1142; it evolution 2015, 19;how (2010, Warner came and humour the of of benefits account coherent offering a by Objection the Irrationality circumvent vital skills learn rough through bonds and maintain social Primates like humans 1). pleasure in their failings seems positively absurd (2008, 228). However, Warren and McGr and Warren However, absurd 228). (2008, positively failings seems in their pleasure are ‘the ways we process our experiences, understand, and get along in the world’, and so taking and understand, process in world’, along the get we ‘the experiences, and our ways are

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f whether areyou sympathetic on DVD, John Cleese expounded John expounded on DVD, Cleese

erson it affected?); spatial distance Fawlty Towers Krach et 2010).al. withas Fortunately, most vicarious 13). 13). it such, As that follows psychologically a distant - release of -

Fawlty Towers Fawlty in Psychological Distancing man’s life, and sometimes [thought] next and would howl what we life, of we man’s would happen when then and wewith laughter, would think poor ‘oh, as Because pointed outman’. somebody o question a just it’s like tragedy; very is comedy ago, years back suffering or are who bit standing whether a to people and the at laughing you’re them. there was an extraordinary emotional reaction we used to have when we [thought] when we emotional reaction to of have used extraordinary an was there that things would happen to Basil, because in a sense we like were ing, hearing about, imagining situation or another’s and condition if—even that person is existent character in a fictional narrative (Keen 2013). When we observe someone violating a someone observe When we 2013). (Keen narrative fictional in a existent character

Psychological distance largely determines how abstractly we construe an event and therefo witness

how much vicarious embarrassment they let their audiences experience. comedies may vary make may in their howcomedies violations distant henceembarrassing they psychologically and embarrassing violation of norm social violation. benign a embarrassing constitutes As a shall see, however, we was not real, i.e. hypothetically distant (3 distant hypothetically i.e. not real, was more humorous when itmore physically was away fromfurther distant, them, i.e. told or when it spatially McGraw 2015). For example, participants rated an initially aversive image of a physical abnormality physical image a of aversive initially an rated For example, 2015). participants McGraw it happen?); social distance (i.e. how familiar or relatable is the p the is or relatable how familiar (i.e. distance social it happen?); and (Warren humour consequently appraisals and influences benign ively posit them increasing Fundamentally, it can be categorized into four dimensions: temporal distance (i.e. how long ago did long how (i.e. dimensions: distance into be four temporal itcategorized can Fundamentally, to that show in order dimensions distance of four these have manipulated McGraw and Warren also our our also responseemotional to that (McGraw, Williams,event Warren 2014, 567). and experiments, multiple real?). it seem In does (i.e. distance hypothetical and it?); is away how far (i.e. interview conductedan 2001 reIn the for of with show writing Connie the experience thatupon the remarking Booth, 2011). al. emotional responses, it is modulated by psychological distance (Williams and Bargh 2008; Stocks et 2008; Stocks et Bargh (Williams psychological distance and by modulated it is emotional responses, uncomfortable anduncomfortable highly aversive ( experience “problem”’ of embarrassment 58), of vicarious (2015, humour indeed “problem”’ and embarrassment be can an embarrassment on their behalf their on embarrassment behalf 2010).(Krach al. et This Schwind is what ‘empathy the terms a non- a social norm, even a fictionalcharacter, we are consequently dispos by 17

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- 18

action’ defined by defined action’ e very peoplee he - in for the characters nor -

dimensional, generic type dimensional, generic -

social status leading him to inadvertently inadvertently leading to him status social solely as one as solely

—in (see a phrase, identification character the worldthe (Davis 2003, 4). In the case of Basil

18; Keen 2007, 93). 18; Keen arecomedic forms Many abble’, the ‘commoners’, and the ‘riff raff’ (‘A Touch of (‘A Touch raff’ ‘riff the and ‘commoners’, abble’, the are populated ‘types’ by or ‘caricatures ations thoroughly benign. see, however, stance is this distanced not just attitude adopted an

to illustrate how a comedy can employ psychological distance in in distance psychological employ can comedy a how illustrate to

l distinction to make is that of between ‘flat’ ‘round’ and characters: when they then dare ask him to fluff their pillows, redo their meals, or or meals, their redo pillows, their dare then fluff himask when to they

dimensional and static, whereas a ‘round’ character is complicated, t’ which through they view refers to as the ‘ignorant r

6). Here,usefu a - stance, he holds a gourmet dinner and advertises it in an expensive magazine to attract request that involves Basil lifting a single, solitary finger’ for them (McGee 2013). them (McGee for finger’ solitary single, a lifting Basil involves that request In fact, entireIn revolveepisodes around Basil’s want of In a fictional narrative, socialdistance can be seen as the extent to which audiences can relate So too farces like Fawlty Towers defining the ‘comic the defining of the genre, trait distinguishing a this names even Milner FarceDavis Jessica , ishman, and a policeman walk into a bar…’. As an audience, we do not feel audience, an As ishman, into bar…’. policeman a a walk and Night’, for in exactly because they have noneof those things: exist they part because they are at the expense of such an unengaging and unsympathetic character. ‘GourmetIn wonder about their about dreams the history, or wonder ambitions, hidden souls personal and their their of depths empathy. activate our do not sympathies or consequently follies draw our their and characters in these appraise may violations audiences benign as violate norms, social embarrassingly and yet stratum, yet as the manager of a struggling hotel he is forced to serve th serve to forced is hotel he struggling of a manager the as yet stratum, use examples from Fawlty Towers member of the middle class, what he wants and moreover feels he deserves is the esteem of the upper In farcespirit’ of oneas which ‘tends to debar empathy its victims’for (2003, we Consequently, 2). can malcontent a As 2016). Davies upon him (see bestowed has world the respect of lack the status and from to is humour unwillingness base derived the or at his Basil’s disgust contain inability customs itself. material the of attributes identifiable of product the rather but audience the by autonomously its to viol render embarrassing order with, to, sympathize and themselvesmirror in a character 2007, 93 Keen social current with his dissatisfaction indignation, a i.e. perpetual of one this is set mental Fawlty, interchangeably Consequently, heClass’). walks in around constant indignation,a of state of much show’sand the especially his of customers, ‘any [such] psychological distance. As we shall Ir This notion of ‘standing back a bit’ is nothing less than a proverbial phrasing of concept of the phrasing proverbial a less than bit’ is a nothing This back notion ‘standing of 1927, 103(Forster struggle empathize with- their blonde, ‘a an quality, e.g. key one identifiedgeneric simply by are they Instead, background. a audiences can investaudiences themselves development, in their recognizablewith humanity, identify and their up and a punchline as their narrative arcs, their yet characters are rarely given as much as a name or ‘flat’ characters are one- approximates real human and individuality, changes throughout the course narrativ their of e so that - set a with stories little often are example, for jokes, by kinds characters: flat of exclusively populated their singular ‘mental se ‘mental singular their

ISSUE 2 | LEVIATHAN | SPRING 2018 - - thus

spatial distance distance spatial

to our sympathyevoke

perceived

hetic staged. and For one thing, non the 6). Mirroring6). how most members audience hides its ‘processes own of structuration’ in

does not leave us in in are the not leave does doubt that ‘we

its shots taken from the distanced vantage point distanced the its from shots taken ). As commedia dell’arte expert Micke Klingvall minute pilot instance, episode, for not contains single a - Fawlty Towers Psychiatrist’ quality, —the entire 30 - —even far as in his to riff specify advertisement.as raff’ ‘no going top acting, and most and oftop acting, - life’ s guests anything but a trifle. Basil is left thoroughly embarrassed, having is trifle. thoroughly embarrassed, but left a Basil anything s guests - the - raming of ’s format seems to advertise its fundamental inauthenticity. fundamental its advertise to seems format ’s its over (95). In ‘Wedding Party’, for instance, Basil prudishly for for prudishly chastises Party’, instance, unmarried couple Basil an (95). ‘Wedding In

by being ‘bigger life’, simultaneously thisare —by than they ‘reduced as016). (2 humans’ In Cleese manoeuvre’ (‘The , for example, makes, for no qualms synt appearing about up (‘A Touch of This spatial Class’). is in turn distance John compensated by Cleese’s acting Similarly, fictions are obviously all hypothetically distant to some extent, but they may vary in vary may but they extent, some to distant hypothetically all obviously are fictions Similarly, In television, directorsfilm obviouslyIn and cannot physically sit how control distant viewers Hypothetical distance, however, does however, Booth Cleese not restrict and distance, also itself to aesthetics. Hypothetical Towers Fawlty Fawlty authenticity. feign and artifice their hide to go they which at lengths the and realism their ‘the John‘the suffering, however, is thatsuffering, indignant snob’s, an of and hardly likely is therefore tobrought emotional ruinpalms his head he jumpsand down up and in what been has to asreferred not being able tohi serve able not being His dinner. gourmet a at broken social every should regulating norm behave one how inadvertently when and Builders’), around (‘The set the for emphatically runs example, he is agitated, Basil when sets, of number to the rather petite Mrs. Small’, and series complications ‘Mrs. to rather the of as upa through even Hall ends he and exaggerated stylized its in physicality: dell’arte commedia of reminiscent almost is which style, unreal and way, spatial distance reinforces social distance by dictating an exaggerated style of acting. limited severely its with Furthermore, benignity. ultimate and fictitiousness events’ depicted the of Fawlty Towers However, throughout the high heHowever, few night does the nothing but himself alienating embarrass ile wh customers bothered toclass who up. turn For instance, nervousness causes him to refer accidentally humorous. us his This frees misfortunes empathy. or benignly toas enjoy viewers’ manipulate can they framing but sets, through TV their from from scenes the from Petrie depicted (Boggs and 1996, 134- would have sat literally distant from the stage during the classic theatrical farces, Fawlty Towers shies away from close f close- stylized as characters presenting by distance’ ‘create to contributes itself in acting of style this notes, of viewers reminding signal’ ‘play perpetual a as functions audience of studio its laughter diegetic such, As play. every the stage looks aspect show recorded studio most the all like a of audience, of ‘a higher class of customer’ 19 contrived nature contrived (1995, Whereas an95). plot ‘organic’ employ what Selby and Cowdery term ‘structured’ plots that make no attempt at veiling their their veiling at attempt no make that plots ‘structured’ term and Cowdery Selby what employ wanting to stay in the same room. The rest of the episode is consequently structured around Basil is consequently episode the of rest The room. to in same stay the wanting escalations order to affect a ‘slice- presence of a “made” and edited account’ by structurally relying on unlikely coincidences and

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— 20

stant enough stant enough n of plotn of and , we shall to turn high levels vicarious of high and off without any social skills social any without off - mbarrassing positions. female A barrassing violations thoroughly , we shall therefore mark the shall mark one, we therefore

t, the benign violation theory is thus superior: violationt, benign the theory il. He is a show isil. a He

Fawlty Towers thus renders its em

re, the threefold repetition, the gradual escalation in repetition, gradual the threefold the re, character as Bas -

s Basil over the head with his umbrella. As Basil lies writing on the floor in the floor on writing lies As Basil with umbrella. the his head over Basil s is perfect the example of this balance. keeping weBefore to turn it how fictitiousness. ’ s walks in He on them. walks he is (see Schwind 2015, 54; Consequently, 2008). Zunsine enters situation every he

The Office again The Office The in Tragedy Vicarious and Embarrassment David Brent, the show’s socially bumbling branch manager and its primary object its cringe, and primary of branch bumbling show’s manager the Brent, socially David As we have seen, a farce like Fawlty Towers

and that is alland remains just as much of a flat type flat a of much as just remains category of distance it does not reduce, namely social distance. decreases psychological in comparisondecreases todistance genre, is proof that it does not have to be. In this respec that it is does to proof be. not have In genre, amusement produces simultaneously it when, only when, and comedy experience (Warren Cringeand (Warren justexperience 2010, 1145). by virtueMcGraw comedy, its of as existence a notion on the predicated such requires that humour is mixed comedy A cringe emotionsa (1145). di high embarrassment levels vicarious close to of produce enough yet psychologically Merchant’s A major flaw in most theories of humour is that they describe it as an exclusively positive emotional emotional positive exclusively an it as describe they that is humour of theories most in flaw major A is emotions in it addition to amusement, negative to humour evoke it for does allow not only embarrassment in its audience. The embarrassing violations of cringe comedies must therefore be Stephen Gervais and Ricky comedy, cringe archetypal the humorous. As benignly as to register still course embarrassment, and the unlikeliness of each scenario thus expose the clear structuratio him to be an intruder. As he crouches on top of Manuel’s unconscious body, the young body, the As of on top unconscious of crouches intruder. couple him he Manuel’s an to be young Manuel inadvertently inadvertently hit Manuel pan, head thinking the with over hits frying lobby, burglar. he a Manuel a heard dark has the she In sitting on top of him. At this unfortunate moment, the young couple walks in on them. Later, a drunk a walks couple in on them. Later, moment, the young unfortunate this him. top on sitting of At Sybil, thinks who by late night at in is his downstairs sent underwear Basil in Lastly, on them. walks backarrives late guest and trips over drunkenly he as up picks Basil purse, up ending her dropped him sits ‘Mr. Manuel over love Fawlty,pain, love saying OnceI theI again, couple you’. you, young thereby the event Now, but amusement. however amusement nothing and producing at thus aimed are cringe. causing at aimed violations embarrassing the repeatedly caughtbeing the by inrepeatedly seemingly couple e and comprising them abstractly. With strong them abstractly. a on benignity, emphasis the violationsembarrassing Fawlty of Towers unsympathetic construe and disengage empathically can cha that audiences then, racter. wonder, No means that they are unrealistic, are that they distant framing, means and expense employ the unrelatableat are an and of benign by making them hypothetically, spatially, and socially distant. In cinematic terms, this in turn turn in this terms, cinematic In distant. and socially spatially, hypothetically, them making by benign

ISSUE 2 | LEVIATHAN | SPRING 2018 - or class - documentary, - by a masturbatingby hand

tance is not significantly ss opinion the the of about David’s second joke evokes a character and placing him in a similarly relies on organic plots plots organic on relies similarly

- . emotions (Jacobi 2016, 298). The emotions The (Jacobi 2016, 298).

dimensional, passing up notonce an - encompassing of David’s personality, it personality, encompassing David’s of - The Office The , (Selby Cowdery of and 1995, 95). (Selby Instead

is in fact devoted to making it appear like like a it appear to making devoted fact in is

and flat in ings ceil and tiled walls bare its with scene - en -

c. situations experiencing real situations experiencing

, however, lies in taking this type lies in, however, taking awareness. In ‘Merger’, for example, when he is supposed to make - thus seizes every aesthetic opportunity to decrease hypothetical distance and want to be loved, to think we're popular thought as to and want be of to think loved, respected, to we're be

people in real

that ‘we all I can honestlyI say I’ve never come over a little queer’ accompanied The Office The of ingenuity The As opposed to structured plots the opposed FawltyAs of Towers — even shot in a real office, and the mise the shot and real office, in a even instead with the dreary office humdrum of telephones ringing and copiers printing. The show was was copiers show and The telephones printing. humdrum ringing of office with dreary the instead sound is diegetic.e, Gon importantly, is laughter the reassuring the of studio replaced audience, proposes proposes all made it but as is added); emphasis (2016; interesting’ and lighting all like just handheld visibly is movement camera all Similarly, episode. the of events Experience’), just as to awhenExperience’), talking black office worker he forceshis appreciation of African —Gervais human instance, and himself, for be in in rooted itself relatable may something quality by interspersingand action with talking head interviews main where expoundcharacters upon the Office The 301). (2016, natural way in a around develop and (“organic”) them’ them averting their eyes or covering their faces in embarrassment workers in the warehouse ungracefully workers he attempts to join sexist in on their (‘Work jokes actor DenzelAmerican awkwardly Washington into (‘Appraisals’). conversation the His defining turns him flat and unsympathetic as a character. As such, social dis diminished to Fawlty in comparison Towers. hyperrealistic context with hypothetical distance severely decreased. As a mock ‘mockumentary’, the entire format of The Office real of documentary employsshow trademarks the of documentary by genre having aractersch address the camera directly cheerless lighting fully embrace what Jacobi calls the office life’s relatable ‘sense of entrapment’ make the show seem real and authenti is mostwhat iswhere interesting ‘the response of various to that seem the characters events to grow joke audience, the The from while is shot reaction met with depictsgesture. muted polite a chuckles serieshe two, this remains predictableone exactly and of last episode very the to until so. do Up ability the to of wholeheartedly butimpress bereft wanting 21 gay who only wanted the esteem of the upper upper le esteem the wantedclass not the could of care and only who of products simply his lack self of standupnight opening performance, with the inappropriatewildly and crass entendre double ‘I’m not opportunity to embarrass himself by trying too hard to impress those around him. Unlike Basil Fawlty, him. trying Basil too Unlike hard around to those impress by himself to embarrass opportunity lower the when everyone: around of seeks approval the David desperately rabble’, ‘ignorant on unlikely coincidences and fortuitousness, violations embarrassing relying comic then are David’s it late like a approaches a short overeagerly from Swindon, employees he speec new the h welcoming

ISSUE 2 | LEVIATHAN | SPRING 2018 22

ups that - nario doesnario

around oraround jump up , where he has been hired inducing scenes have been - r, but as Schwind notes, Ricky Ricky Schwind notes, but as r, —all toGervais has do is throw a characte - mouthed, desperate, annoyed the desperate, mouthed, at and - crafted mannerisms, speech patterns, facial - acts naturally

awareness, but beyond that it plausible is entirely and - never lat character, authenticity and a real human resemblance. ups, which in turn allows for nuanced, subtle, and naturalistic naturalistic in subtle, and ups, nuanced, which for allows turn - . mouthed desperateand (‘Merger’). These subtle to work markers give - he series [they]he have to skip its because [sic] (Jonathan too uncomfortable’ ly, distance is alsoly, decreased, severely mediumwith most shots being close n full to YouTube by the official BBC Worldwide channel, both garnering around one around garnering both BBC official Worldwide channel, the by YouTube n full to seductively on his table when she enters his office. The most liked commenters on each on each commenters most The liked his office. on enters she seductively when his table

In order to document the effect of this reduced psychological distance, we may turn to turn audience we psychological may distance, this the order to of reduced document effect In Spatial it as ‘the only it ‘the as only inscene t 2015). (all CURLED, eyes(UBZUKKI CLENCHED....toes them ) SQUINTED’ of praises similarly a viewer ‘Motivation’, the from On clip ambivalence. apparent their denoting face while 2015), Forster another their describes very physical watching reaction the clip thus: ‘Buttocks Tim. David continues his speech his drygetting speech continues graduallyTim. more David just writing ‘I defeat, this. can’t watch :D’ too awkward It’s (Kleavers 2015), with finishing the smiley s met with utter silence, faces of disgust, and a cringing ‘ugh’ from ‘ugh’ and cringing disgust, a of faces silence, utter met with is third his while reaction, similar thenwithout cringing ‘pausing, continuing’ (William wh 2016), Roberts ile another admits pure slouching clip the to watch not able claims to be commenter One discomfort. and clip express both amusement interviewing a female candidate to be his assistant while clumsily attempting to charm her, already already her, charm to attempting clumsily while assistant his be to candidate female a interviewing presumably judge him negatively. The second clip is from ‘New Girl’ and features David features and Girl’ judge second ‘New clip is The from him negatively. presumably what is expected of him in the workplace. The first The ‘Motivation’ clip is from workplace. the in him of is expected what with reaction shotsinterspersed of his audience’s emotionless faces and crossed arms as they million views. Both scenes’ embarrassing violations are again caused by not understanding David caused again violations are embarrassing scenes’ Both million views. is in of turn rousing motivational excited speech a speaker. manner the His inappropriately lack of laughs until he quits in exasperation saying ‘oh, come on!’. Admittedly, sce the on!’. come ‘oh, saying exasperation in until quits he laughs of lack to audiences require accept lack of David’s self most the as of cringe in Two comments. online expressed reactions i uploaded offering speech as toa local give hisa Misguided as business advice leader. ineptly is, assumes he he any violation from Fawltyany Towers involves no unreasonably badinvolves no unreasonably on luck part. such, As muchDavid’s it closer is thanhypothetically type a be may David viewer. the up on by picked to be acting otherwise caricaturish f an and David, ‘putting on show’‘putting a (Jacobi Similarly, not 2016, 301). does David like Basil run only more slightly through dry transition in and out of actual close actual outtransition of in and Gervais ‘defines the character through a series of well sly glance towards the camera during a social interaction, and it becomes apparent that David is powers to blow the his status and social absorbs but instead agitated embarrassed, or when down and portrayal is the fact that the is fact Davidas a character portrayal expressions and body language’ expressions body language’ What 55). and in(2015, to light comes turn Gervais’s through naturalistic

ISSUE 2 | LEVIATHAN | SPRING 2018

own

r , however, characters. character he has so far - ated on malevolence or he Inbetweeners The Inbetweeners The (Weisfeld Weisfeld 2014, 73). and

m keep his job. For the first time in in time first the For job. his m keep

humorous tragic violations. As alluded to earlier, toviolations. earlier, alluded As tragic humorous up. The display is an embarrassing violation embarrassing is—the an display up. The - diated by amusement. As David is suddenly David As amusement. ‘rounded’ by is suddenly diated thus carefully regulates its variables of psychological distance. distance. psychological of variables its regulates carefully thus

report finding report commenters instead report humorous. YouTube

we we oftenare able, for example, to side see funny the ou of — ction, he thus ceases to be the flat and buffoonish type buffoonish and flat the to be ction, thus ceases he refle - dimensionality is finally splintered in the concluding scene of series two (‘Interview’). (‘Interview’). two of series scene concluding in the splintered finally is dimensionality - Office even veers into The non- veers Office even stingly, As a cringe comedy, Office The

Intere t he has finally found someone who can appreciate his ‘charm’, all the more gratifying. This his ‘charm’, more found can finally all the who appreciate gratifying. has t someone he Adolescent Cringe and Sympathetic Fools in Fools Sympathetic in and Adolescent Cringe garnering laughs fromgarnering humiliation. his shall deserved we As see with T tha to dedicated 11 episodes his after exposing and only faults mostly comes though, redemption, ambiguously happy happy inending ambiguously the ‘Christmasconcluding in Special’, which it seems possible least at as a a theas character, is in audience turn invited to empathize fully with his This makes struggle. his negative emotional experience that is not me not is that experience emotional negative factor tocontributing benignity through. its it to social decreases Finally, then unsuspecting directlythrough. distance a give suddenly audience suffering is indeed rendered whose benign social is partly only Yet oneantipathy. through distance experience by making its most amusing moments painful and almost physically straining to sit sit to straining physically almost and painful moments its amusing most making by experience nothing done tong, prove them wro have as they have all been at the expense of unsympathetic fools the humorous the it complicates way, this In amusement. to addition in embarrassment vicarious of levels laughter of as expressing (6).antipathy So far, our humourhowever, examples embarrassment of First, it decreases hypothetical and spatial distance so that its embarrassing violations evoke high high evoke violations embarrassing its that so distance spatial and hypothetical it decreases First, cringe comedy does not necessarily have to be at the expense of socially distant type- criticized predic periodically as humour have Plato,Since philosophers (Moreall 2009, 4). Hobbes’s theoryhostility superiority was merely another instantiation this of view violations inembarrassing with i.e. temporal retrospect, distance longer turns benign as consequently appraised tragic. and longer out’ (kamikrazi123 2009). With the last barrier of With thus 2009). diminished, (kamikrazi123 out’ vio last distance the lation barrier the issocial no crying, describe the scene as ‘heartbreaking’ (PorroFirst 2011), and profess that it ‘rips [their] heart profess[their] and scene (PorroFirst the 2011), describe ‘heartbreaking’ that it as heart ‘rips crying, capable of self tight close zooms uncomfortably an even in for Having been made redundant, he begs Neil and Jennifer to Jennifer hi let and Neil begs redundant, he been made Having himself Showing as hard’. ‘twice try will he that promising and complacent’ ‘been has he admitting in real pain, emotional be just he and as the says words make ‘don’t me ndant,redu please’, the camera audiences that violation a not it is David’s one David’s faults, his to up owns and self vulnerable true exposes willingly his here David all 12 episodes, him show to voice cracking eyes and his watery made out Additionally, himself to be. inadvertently lip—but be upper stiff dignified with a would presumably handling of way his redundancy ‘proper’

23

ISSUE 2 | LEVIATHAN | SPRING 2018

24

. is then more is more then

faced from their - tweeners alterably resume their how for the relatable relatable the for how 18 years olds they 18 as years approximating that of real British British real of that approximating

, on the other not, on the hand, chronicles isplay faults, their continual maturation and and maturation continual their isplay faults, may d

ur principal characters are similarly portrayed by average- admittedly ‘average’ admittedly four ‘average’ of group 16- - of the show similarly similarly show the display a of roundedness that encourages

strung snob or inept buffoon for its embarrassing violations, The its embarrassing for buffoon inept strung snob or ability ability markedand relat it with imbues similarly setting show’s the ,

simply follows a self a follows simply characters, we therefore now to turn characters, Morris’s therefore and The Inbe we Beesley

- As Dean notes, characters even speak in a vernacular r 2012); Jay, with his straight blond hair puzzlingly cut to frame his face like his with bowl puzzlingly drooping Jay, 2012); blonda r hair tocut frame face his straight The Office Not unlike The The adolescent protagonists - high on a relying of Instead expression. (Palme facial his dopey body and his to lanky complement messy short and hair with Neil, his cut; and thin framed thin Simon,glasses; framed with his too much spikes andgelled ‘hoodies mum would buy’your looking young men who have been styled to look especially awkward: Will, awkward: styled to look especially with and his been men short curls have who looking young conventionally attractive actors, fo all actors, attractive conventionally and its middle class youths continually find themselves with nothing to do. Instead of casting to do. with nothing themselves find Instead continually its and middle class youths authenticity. drearily suburbanauthenticity. seems backdrop by perturbed Its perpetually weather dull overcast and series he has already assimilated himself into a comparatively plebeian group of friends (‘Xmas of friends group plebeian a comparatively into himself assimilated he has already series preceding events. Will may start out a shunned and bespectacled posh nerd, but by the end of the first first the of end the posh nerd, but by bespectacled and shunned out start a events. Will may preceding after Carli (‘Xmas Party’). Though protagonists the a narrating Will summarizing what he has learned from its its from learned has he what Will summarizing narrating a is by in fact, episode, concluded every the at Christmas party end the of seriesfirst out hanging with his dweebish insteadcomrades pining of empathize and struggles. development with their maladaptive behaviour the nextmaladaptive very The episode. Inbetweeners just continual its but characters’ embarrassments their also gradual maturation development and — Simon Similarly, Party’). be may selfish a romantic,and neurotic chooses thehe to spend yet thus to improve ability them and in redeem to theirencourage invest themselves audiences what social embarrassment they have suffered, we can rest assured they will un character identification. As we have seen, flat characters like Basil and David remain static: no matter very same awkwardness. wonder: if they have experienced adolescence themselves, they have most likely suffered from suffered that have most themselves, have adolescence likely they experienced if they wonder: understandable. In fact, reviewers and fans have consistently praised the have s fans and consistently fact, reviewers In understandable. no and 2009), 2010; Dean 2010; (e.g., Genzlinger Gilbert characters its of adolescent awkwardness Inbetweeners ‘felt like laughing at themselves’ immediately, still red still immediately, Many themselves’ even at report having laughing like ‘felt should know better, the adolescent inelegance of the youths in The inelegance the of Inbetweenersyouths adolescent the should better, know cial ineptness was intolerable on account of his status as an employer and an adult an and who employer an as his on account of status intolerable was ineptness social David’s they especially sensitive also are they Mills to Whereand (Blakemore its 2014). 2014; effects Pickhardt knavish type knavish prone to not only embarrassment of on account their lack of withfamiliarity social established norms, social blunder blunder social (68). order to demonstrateIn that does cringe comedy not need to be theat expense of adolescence of minefield social the (‘First navigate to attempt Day’).stumblingly Adolescents are

ISSUE 2 | LEVIATHAN | SPRING 2018

or

king ough —on social

YouTube ’s blatant blatant ’s

so fuc

cope with their their with cope in uniquely turn

attempts to court the court to attempts diegetic music, th music, diegetic Fawlty Towers speak, but is met with utter utter with met is but speak, - , it is still characterized by a by characterized still is it , and and

jokes jokes mum’ ‘your about (2009). Office

The official The Inbetweeners . long impression of the Frog impression of Crazy long popular once - rry rry his supplies. These innocuous two seemingly much hypothetical distance either. Although its format its Although either. distance hypothetical much object ofobject public ridicule. As walkshe the through halls

second - n to charm a —to through charm a ‘The girl humour. Trip’,Field In

the show does not shy away from close framing. As such, such, As from framing. it close away not shy does show the

Loud and proud, and out ‘feisty in belches Yoda Loud are’ he one you ompensating its severefor ompensating lack psychological of distance, The Inbetweeners ingle verbal attack with sarcasm: attack with verbal ingle C Instead of relying on comic fortuitousness and unlikely coincidences, its unlikely embarrassing and fortuitousness comic on relying of Instead Aesthetically, the show does show the not provide Aesthetically, have ‘cringed so much I am now a raisin’ raisin’ so much ‘cringed a (MyBean now am 2017). I have instead ofbriefcase a backpack in towhich ca proclaims to to rendition Crazy Frog proclaims of commenter on Jay’s a 2016). Similarly, time lol’ (Hans Landa is Will. name ‘My says him hello’. his Stop say with mom equipped a and Additionally, has me awkward’ (TheExtremeLead 2016), while reporting that it makes them ‘retchand laugh at the same themselves characters its letting by moments cringiest its of many mitigates through embarrassments ‘First Day’, humour. student aIn Will as new badge that a to wear is forced as a out him norms single social of violations every s of the school, he is consequently mocked is by the him consequently by. he school, the students Willof passing However, counters fuck]’ (Atte (Atte fuck]’ Kangas 2016), it declaring ‘one the of moments watch [they] – just can’t the most common audience reactions: commenters describe Will’s Yoda impression as ‘Cringy af [as disregard for hypothetical credibility. hypothetical for disregard certain a within or inexperience insecurity characters’ from stem simply similarly violations failing and cringiestattempting Jay scenes involve Will two perhaps context. show’s and The her in charming is unsuccessful he Needless to say, ringtone. may suggestion in of full and a again here provide uploadedcomments scenes has both these channel Star Wars. attempts to simultaneously grab her attention and charm her by doing an impression of Yoda from from Yoda impression of by doing an her her and attention charm grab attempts to simultaneously to sincerely him heflustered Lauren ask why is like that’ ‘talking and has he whether ‘a problem account of their insecurity ofand insecurity inexperience their account consequentlynew he pretty and girl Lauren, the with it off hitting is Simon that jealous Will is for a attempt his failed only humour, then at He repeats both and Simon from Lauren. confusion Fawlty unlike and handheld Towers Both characters and their surroundings are thus relatably their unexceptional. and are surroundings characters and common Both Office The as authenticity to feigning devoted singularly as not be may - for one is omitted, non track, thing, and towards realism: laugh a propensity visibly often is movement camera Similarly, minimum. a to kept is scenes, certain intersperse it does hyperrealism the middle The of a between ground occupies Jay cluelessly a in Girlfriend’, Gets ‘Will maybe?’. Similarly, Asperger’s, 24 an excruciatingly with Charlotte attractive without markedly shying crass language from away youth lewdand 25

ISSUE 2 | LEVIATHAN | SPRING 2018 - 26 loses his - deprecatingly tells to to tells deprecatingly - ing its audience to literally literally to audience its ing all, Will eventually half eventually Will all,

deprecating humour humour deprecating wit (‘Willand -

is their ability to find humour in their their in to find humour ability their is eover features a temporally distant Will Will distant temporally a features eover

7). Not only does it decrease physiological does it Not only 7). decrease . Unable to change the situation, the to change instead Will has . Unable

their social reputation. After reputation. social their

bonding play of humour to ensue, and the episode consequently thebonding of consequently and play episode to humour ensue,

themedinsult. Mum, Thanks a thanks bunch (as intranscribed - thus compensates for lack its of overall psychological distance and

: Nice badge, dickhead. : Ooh, I’m Will. : Ooh, I’m Will. hello : Ooh, : Biefcase wanker. : Yep, thanks very thanks : Yep, much. very that’s nice, : thank Yes, you. fantastic.: Year must what, You Lovely, 8? be : The baggage east some of the time (Morreall 2009,66- time the (Morreall of some east Beesley and Morris and 2012, 14) Beesley WILL KIDB KIDA WILL KID C WILL KID E WILL The Inbetweeners Similarly, what bonds what Similarly, in The characters Inbetweeners riends’ amusement. When Jay warns him that ‘people will take the piss, mate’, Will shrugs it off, Will shrugs piss, mate’, the take will ‘people that him warns Jay When amusement. riends’ ared embarrassments. ared Will ‘ExamIn Time’, drinks energy so many consumes prepping while for mechanism, at l situations public like during has embarrassment been indeed to shown be successfula coping somehow benign in the large scheme of things. Shifting to the play mode of humour in stressful mode in humour stressful of things. to play of the Shifting scheme in large the benign somehow requires situation the construing requires in order to see the abstractly violations of his personal dignity as improving potentially thereby humour, In this situation way, using This to Will humour his ridicule. In embarrassing the by deflect handles for individual to flaunt capacity own their (66), discomfort embarrassed it the allows and also strain circumvents the empathy ‘problem’ of of empathy the embarrassment ‘problem’ by allow circumvents humour Pootin’, and ‘The Lion, The Witch, and The Speccy Speccy Kid Who Witch,Pootin’, ‘The The Lion, ShitThe and and Himself’. - group the This in for allows turn ‘Wayne around ‘Bumdog Millionaire’, his e.g., Pooney’, accident, centered ‘Vladimir Shat’, ‘Take self his to she attracted is because exactly Charlotte to virginity allowing him7), to construe it thus abstractly and benign utilize a as violation. its humorous potential Will punny nicknames off for laughingly together making up new and driving with gang the ends chosen to suspend the personal, practical concerns that lead to negative emotions (Moreall 2009, 66 2009, emotions (Moreall concerns to negative that lead practical personal, to the suspend chosen able to see the funny side of the situation immediately, avoic immediately, the situation side the of funny see to able his exam final that he ends himself up soiling though taking it. while Even is understandably nothe next scene he has already turned the incident into a funny anecdote that he self Life doesn't get much more embarrassing than that’ Gets Girlfriend’). a sh very Will’s in Similarly, bottom’. the it: literally was this points, term low of it: ‘In of light making his f to it. hide in front shit ‘just to no point reiterate, myself There's loudly school. trying the I of saying

ISSUE 2 | LEVIATHAN | SPRING 2018

free thus thus -

, Aristotle Aristotle , m predicts m predicts

The Inbetweeners

ions of 193). Aversive fictions like cringe tions in their audiences. In Poeticstions audiences. in their In them. Its characters are neither especially distant

ns (Bloom 2010, ns (Bloom e themselves to cringe comedies explicitly aimed at evoking at aimed evoking explicitly comedies cringe to themselves e case scenarios,case prepare they us thefor our cringe of own lives, l of spicy painfully concept of the foods, masochism benign describes 5). Originally developed Originally 5). 1980s in by the Rozinpsychologists and

present choice of simply shutting off their TV sets should the cringe reach an reach should sets cringe TV the their off shutting simply present of choice - Benign Masochism and the Paradox of Cringe the Paradox Masochism and Benign its characters instead of exclusively at

with Comparing it to the enjoyment many derive from the ‘burn’ of hot chilies of nauseating derive from the many or ‘burn’ the it to enjoyment the Comparing As such, cringe comedies may actually serve a beneficial and preparatory function. By art forms explicitly aimed at evoking negative emo negative evoking at aimed explicitly forms art emotio negative pain and with practice’ ‘safe fictions. The paradox of of cringe, after all, is no more puzzling than those of tragedy or horror, all paradox tragedy puzzlingall, is cringe, of after those fictions. The no more of than of masochis Under benign controlled and doses, 2013, 469). circumstances in manageable 1997, 540). aIn sense, then, it can be seen as natural a inclination towards experiences that forallow For millenniaFor literary now, scholars have sought to understand paradoxical the attraction of aversive the toSchiller account for appea reactions and in the (Rozin negative safe’ bodily feelings of al. context et ‘enjoyment feeling the of (Pinker woes be with considered ourselves would normally what disposed to confront are that we it risk suffer viewers enough, real is embarrassment evoked their though bill: the fit comedies 1997, 540; Bloom 2010,1997, 540; Bloom - 194 discussed the pleasure of aversive fiction as a commonly shared kind of benign masochism benign kind shared of fiction (Pinker commonly of a pleasure as the discussed aversive swirls of roller psychologists roller swirls like Paul of evolutionary coasters, Bloom have Pinker Steven and inquiries. The Office like The veering into or tragedy character cruel on a it taking from but it stop does occurring, would so many people willingly expos recent on more therefore have to rely we may cringe, of to illuminate appeal the order 2010, 192). In mate benignity of their embarrassing violations. This does not stop the cringe from from their of violations. embarrassing not This stop benignity cringe does the mate ulti the indicating embarrassment is such an aversive experience that we need coping mechanisms to deal with it, why we however, ourselvesfind with little to this no scientific theory support for ofemotions (Bloom when to psyches ‘exercise our for (193). to hell’ proclivity goes human life socially, hypothetically, nor spatially, but they through hypothetically, signal laughter play provide spatially, own their nor their socially, does towards itsfinale. As a cringe comedy, the embarrassing violat remains: question, if threat The and however, benignity. straddle line between the carefully this emotionvicariously? later, (1895, 2352 fear 23). and years cooped up pity of purgation the to pleasure be tragic proposed ever with an and Our level. penchant for insurmountable cringe seencomedies, can then, be product a of as uniquely a - worst social simulating immersively Gervais as us with once it provide to pursue occurs. If, us strategies to it, even equip avoid and better laugh 27

ISSUE 2 | LEVIATHAN | SPRING 2018

28

goes

Warren Warren , we are on tive thus allows allows thus tive ommonly sharedommonly

Drawing case scenarios, cringe - The Inbetweeners allows us to laugh at the the at laugh us to allows

and and al reputation tarnished. Here, it it reputational Here, tarnished. two distinct kinds of pleasure: the the kinds pleasure: of two distinct

ial, and social distance its thus render

spat earned soci From a biocultural perspective, the paradoxical the perspective, biocultural a From squinting cringefest at a a time. at cringefest squinting - the paradox of cringe comedy. differ from such from differ traditional humour embarrassment

eye spected, then thought (2016), watching interesting and y function. y , hypothetical, Conclusion curling, curling, - The Inbetweeners Fawlty Towers and and

sing these variables of psychological distance in order also to evoke high to also evoke in psychological order variables of distance these sing clenching, toe clenching, . In - quipped to quipped with cringe of the lives. own cope our when attempting to make sense of sense make to attempting when

provides us with salient examples of how not to achieve this. us withprovides unspoken not to all the how examples salient achieve By of violating

This leaves us with the curious notion that we may enjoy cringe comedies because they are, in are, they cringe comedies enjoy because may notion that we us curious with the This leaves such cringe may in cringe be turn testamentsuch a masochistic own to their nature, a benignly c humorous agonizing simulating social yet By worstemotion. negative and pain by comparativelyby decrea from seem counterintuitively to derive audiences pleasure The embarrassment. vicarious of levels disposition out and to experiences that seek enjoy for allow safe practice doseswith controlled of comedies may then even serve a preparator for in of terms accounted thus cringe be comedy of can appeal itself. pleasure benignly masochistic humorous the cringing of pleasure and of amusement direct ourselves one buttocks one ourselves strengthened, bolstered, and emboldened by the experience. As benign masochists, we thus better masochists, we benign As the experience. by bolstered, emboldened and strengthened, physically straining to sit through. Yet should we persevere, we may in turn emerge on the other side side other on the in emerge turn may we persevere, shouldwe Yet through. straining to sit physically and almost and their uncomfortable scenes intensely most and amusing render humorous experience - hard our squirming with embarrassment, ourselves find and ‘laugh it off’. Having cringed with the characters from Office The embarrassment as we are laughing. By decreasing psychological distance, they complicate the comedies like Office The even further, providing further, even us strategy viable with a thefor when violation has occurred and already we violation’s situation our the abstractly, usrealize to back, step construe advises ultimate benignity, e better left thus at least one sense, good for us. Whereas a farce like Fawlty Towers embarrassments with emotion the of ourselves cringe comedies us to of allow acquaint its characters, violations thoroughly benign thereby singularly embarrassing and Cringeconducive to amusement. psychological distance psychological embarrassment humour specifically relies violations on embarrassing rendered through being benign specifically humour embarrassment As with many other puzzling aspects of human behaviour, an evolutionary behaviour, an human perspec other of evolutionary puzzling withAs aspects many insight unique violations that and to benign response evolved is that humour an have argued I McGraw, and The them. Inbetweeners disregarding with that comes embarrassment the intense experience social norms of the office environment, David makes them salient and allows us to vicariously and David them salient us environment, to allows makes office vicariously the of norms social Office The supposes, we all like David want to be loved, re loved, all like David to be want we supposes,

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.. Upper teen - , edited by , edited skins 68. Piscataway: Witted. - -

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BBC’. YouT utionary Studies utionary of Literature’. . London: Random House. 114. Houndmills: MacMillan. Palgrave References . York New . New York: W.W. Company. & Norton Fawlty Class of in Fawlty Touch Other Matters Hotel and 115202. 59, no. 1: 289-

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Translated by Samuel by Henry Butcher. . Translated London: Macmillan. e Best - University Press. 2017. Oxford. April University Basil Fawlty’s Basil psych ” You- Snobs! Stupid... You Stuck “ Jayne, and Kathryn L. Mills. 2014. ‘Is Adolescence Sensitive Mills. Adolescence a 2014. ‘Is Kathryn Jayne,L. For and Period - Simply th Simply 15. doi: 3, no. 1: 8–15. The Inbetweeners’. YouTube Video, 1:23. Posted by ‘The – The YouTube 29 Video, ‘The 1:23. Posted by Inbetweeners’. Inbetweeners’, In British Cultural TV Comedies: Contexts and Controversies Concepts,

’. .’. OED Online.’. v 03006.093625. 10.1146/annurev.psych.59.1 - 10.1146/annurev itanditsrelati01brilgoog. https://archive.org/details/in.ernet.dli.2015.509170. Company. https://archive.org/details/ York: Yard and Moffat, New Arden Brill. w http://www.nytimes.com/2010/01/25/arts/television/27inbetween.html. realism. The Annual Review of Psychology The Annual Review https://www.theguardian.com/culture/tvandradioblog/2009/apr/03/inbetweeners Transaction Publishers. Transaction doi: Class Piles Pus! of... 2006. https://youtu.be/FfjZ3NKt2o0. Towers ‘BBCWorldwide’, 20 May, 2013. https://youtu.be/mXytRC0k 20 May, - ‘BBCWorldwide’, and Kamm 99- Birgit Jürgen Neumann, https://archive.org/details/poeticstranslate00arisuoft. http://www.oed.com.ez.statsbiblioteket.dk:2048/view/Entry/44486. doi: https://youtu.be/bvtQHdnHqJI. Sociocultural Processing?’.Sociocultural of Psychology Annual Review 2014. https://youtu.be/yeZsPCG74UM. October, Boston/New York: Pearson/Taylor Group. York: Francis Pearson/Taylor and Boston/New Literature Worldwide. David Brent - Brent David Freud, Sigmund. (1905) 1916. Freud, Genzlinger, Neil. New of 2010. ‘Dreams Teenage Loser’. a Genzlinger, York Times Forster, E.M. 1927. AspectsForster, of The Novel ‘Putting The Altruism Back 2008. Altruism: Evolution Altruism Empathy'. B.M. Back The of The Waal, Frans ‘Putting Into de Will. Realistic is More Dean, 2009. ‘The Inbetweeners Skins’. 2009. The Guardian, 3 April, Than Davies, Paul. 2016. ‘ Davies, ‘David Brent Is Made Redundan Brent YouTubet’. Video, ‘DammitSteve’, ‘David Is 1:59. Posted by 17 October, Farce to Second Jessica 2003. ‘Introduction Edition’.Davis, Milner. In ‘ How Pleasure Paul. How 2010. Pleasure Bloom, Works ‘cringe, Aristotle. 1895. The Aristotle. Poetics

29 ‘Crazy Frog Carroll, Joseph. 2013. ‘A Rationale for Evol for Joseph.Carroll, Rationale 2013. ‘A Beesley, Damon, and and 2008- Damon, creators. Morris, Beesley, Ian ———. 2012. The Scriptbook Inbetweeners Blakemore, Sarah M. 2014/2015. David of The New Buss, Science Psychology: Evolutionary . 5th Mind ed. the 1975- John, creators. Cleese, Connie Booth, and Cleese, John. 2001. ‘An Interview With John. JohnClee Cleese, 2001. ‘An Interview

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empathy. The Independent tvs ebooks/3207. 311. Houndmills: MacMillan. Palgrave - A Comprehensive Philosophy of Comprehensive A Humour - :

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