Story Power

Blogging the Lit Life

Month: February 2026

Classrooms and Comedy: Abbott Elementary

Aristotle defined comedy as a type of drama that pictures someone who is flawed but, throughout the course of the story, ends up better off than where they started. This idea allows us to think of comedy as something other than just funny. An example of comedy that I enjoy watching is the show Abbott Elementary by Quinta Brunson.

At the beginning of the show, a lot of the characters aren’t able to do certain things because of their flaws. Janine is painted as a very naive person who believes positivity and being enthusiastic can fix their broken school system, while the majority of the other teachers feel burnt out. Part of the comedy comes from these imperfections of their characters. What is funny is the difference between Janine’s motivational speeches to everyone at the beginning of most days, and the reality of a broken printer or students ignoring her in class. Humor can also be seen when the mockumentary interviews expose what the characters actually think, especially when their comments contradict their actions. Their awkward teaching moments, humbling comments from kids, and misunderstandings match with Aristolte’s idea that comedy can highlight weakness in a way to make others laugh.

However, what makes the show a real comedy is that the characters grow as well. As episodes of the season come out, Janine starts to balance being optimistic with being real, helping her become a better teacher and colleague. Even characters like Ava eventually show more responsibility and care for the school where they work. By the end of many episodes, connections between people are stronger. This demonstrates how the humor isn’t pointless, and it is how growth happens.

The show deepens our understanding of the human condition by showing that we improve from our mistakes. People typically think change can only happen through a dramatic event. But through Abbott Elementary, we can learn empathy and resilience through small everyday failures to help us improve ourselves.

Satire in American Psycho

American Psycho, directed by Mary Harron, is a dark satire about 1980s Wall Street culture. The film follows Patrick Bateman, a wealthy investment banker in New York City who appears to be obsessed with status, physical appearance, and material things. Beneath his polished exterior, he is emotionally empty and becomes increasingly more unstable. The film exaggerates his lifestyle to critique the greed, materialism, and superficiality of that world.

One major satirical technique the film uses is hyperbole. An example is the business card scene, where Bateman and his colleagues compare their cards. This completely normal thing then turns into an intense competition, showing how obsessed these characters are with appearance and their underlying insecurities. The irony throughout the movie is that Bateman can say shocking or disturbing things, yet no one really listens because they’re all too focused on themselves. This is displayed when Bateman casually talks about his violent urges to kill people while sitting at a table with his coworkers, and instead of reacting with concern, they disregard him by either talking over him or being too focused on themselves to care. The film also makes fun of corporate culture by making all the businessmen in the film almost identical, as if they have no real personalities.

Overall, American Psycho isn’t just making fun of rich businessmen; it criticizes a society that values money, brands, and image more than empathy or genuine human connection. By using dark humor and exaggeration, the film makes viewers uncomfortable but also encourages them to question what our culture truly prioritizes.

The “Good” Place

In recent years few shows have been able to capture a balance between humor and philosophy, except one, The Good Place. On the surface the show seems like a normal afterlife sitcom, but it quickly reveals its sharp satire about morality, self improvement and unrealistic expectations of being “good”. The show begins with Eleanor Shellstrop, an average woman, maybe a little selfish, who dies and wakes up in “the good place”, a heaven inspired neighborhood for those who have good morals. Being scared of getting sent to “the bad Place” Eleanor attempts to learn ethics from the help of Chidi, her neighbor. Overtime she and her friends begin to question the afterlife system and eventually realize that it is nearly impossible to live in modern life without causing unintended harm.

One of the main techniques that the show uses in irony. the biggest part of it is “the good place” has never been good at all. what appears to be perfect has been a physiological experiment designs to torture the people there. It exposes how looks can be deceiving and how these systems can be corrupt after claiming to be so moral.

The good place is not simply making jokes about heaven or religion but instead critiques the idea that morality is simple and individual. Modern society is so connected that people unintentionally harm others even when they didn’t mean to. This challenges the belief that people should purely be judged on their individual actions.

Through irony, the good place uses humor to explore serious questions and challenges the idea that morality one thing and criticizes systems that prioritize pureness over emotional growth. By making jokes, the show encourages deeper reflection on what it truly means to be good in a complicated world.

Satire in Ted

In the television show Ted, elements like humor and an inappropriate teddy bear are used to satirize suburban family life, specifically in the 1990s. The series follows a teenager, John Bennett, living with his talking teddy bear, Ted, whose childish and irresponsible behavior creates chaos that reveals deeper issues in the Bennett home. Through irony, like the fact that a teddy bear (with a deep, adult-male’s voice) which is typically meant to symbolize innocence behaves worse than any adult, and through hyperbole, like Ted’s exaggerated selfishness and immaturity, the series is able to expose the unrealistic expectations that are placed on kids compared to the low standards that society has for adults. The show, made in 2024, also parodies classic 90s sitcoms (that include and satirize themes like the trope of a magical best friend, “coming-of-age” stories, sentimental holiday specials, and more) by showing how messy and imperfect families really are behind the nostalgia, and by including a talking, walking teddy bear into a 90s-style sitcom, it almost feels like its poking fun at the overdone, unrealistic, and “perfect”-seeming sitcoms of the time. Also, understatement is used a lot in the show, with the family brushing off or acting like Ted’s outrageous behavior is normal. Their calm reactions to his shocking actions make the jokes funnier and prove a larger point that people often ignore problems instead of confronting them. Connecting the understatement technique back to the hyperbole; because Ted is portrayed as an adult [teddy bear…] he is disciplined less and allowed to get away with more things, showing that in society we let adults get off the hook easier, with John getting in trouble or even sometimes blamed for Ted’s actions in almost every episode. While on the surface Ted is very crude and funny, its satire critiques serious themes like toxic masculinity, denial within families, and the false belief that the past was simpler (rejecting the image/idealization of nostalgia), using humor to not only entertain and get a laugh out of the audience, but to highlight the flaws in American culture.

Celebrating Criminals with Champagne

An article from The Onion titled, “Kash Patel Faces Backlash After Partying With Nancy Guthrie’s Captors,” paints a fake story that our country’s FBI Director Patel is celebrating with the kidnappers of Nancy Guthrie, a popular newswoman’s mother who has recently gone missing. In the article, they even go so far as to have a picture edited to make him look like he’s posing with masked captors, spraying champagne. Instead of sending condolences to the family, which have been popularly seen across social media, or doing his job, he apologizes for “drawing attention away” from their (captors’) accomplishments. It ends with Patel saying he hopes to celebrate with them again if the hostage is still being held captive 4 years later.

The article has a lot of “quotes” from Kash Patel and references to current events to demonstrate irony and hyperbole in order to create a satirical piece of work. The biggest way irony was incorporated was in the idea that the head of the FBI, an organization whose main job is to protect the people in our country, would have the director celebrate with those who have committed such a well-known kidnapping. As the director of the FBI, we expect him to condemn the captors or rescue hostages, yet Patel praises them. This stark difference in how we expect someone in that position to act created irony. The article has him demand that we should “focus on the hard work of these dedicated men who have evaded capture for weeks”. Calling kidnappers dedicated makes criminal behaviors seem like a great achievement, demonstrating how absurd the article is.

Furthermore, the article exaggerated his behavior to extreme levels. Patel is said to drench armed captors in champagne while throwing a “shaka sign” and holding the gun used in the kidnapping. These actions amplify the satire, making his behavior more outrageous than ever.

While the article is something to laugh at when you first look at it, it is criticizing current societal issues. When I first saw the article, I connected it to Patel actually celebrating with the U.S. Men’s Hockey Team instead of working to help everyday Americans be safe in the country, including Nancy Guthrie. But also, by showing an FBI director praising criminals, it ties directly to real-world concerns that officials tend not to hold those they favor accountable for their wrongdoings. The FBI openly siding with criminals exaggerated people’s worries about corruption as well. These doubts together cause readers to question who holds positions of power in our country. It uses exaggeration to entertain and expose how dangerous it can be if officials are just trusted to enforce justice.

This works as a satire because it pushes real societal concerns to an extreme. A fictional scenario was turned into a commentary on power in our politics, media narratives, and responsibility. Instead of making fun of Patel in the locker room celebtrating the win instead of working, it challenges the readers to not only laugh but also consider the consequences of having something to laugh at like this when it comes to politics.

 

 

 

The Boys and Satire: Does Media Influence the Public

A strong real world example of contemporary satire is prominent in the TV show The Boys. This series is one of my personal favorites and takes place in a world much like our own. However, superheros are treated like celebrities and are controlled by a powerful corporation called Vought. In the public’s eye, these heroes seem noble, brave, and morally perfect, but behind the scenes many of them are selfish, corrupt, and dangerous. The show mainly follows a group of ordinary people trying to out these evil heroes and hold them accountable for wrongdoing.

The show provides several techniques of satire to present real world issues. One of the biggest is irony, since the people who are supposed to protect society are really the biggest threats to it. It also uses  hyperbole, exaggerating the idea of celebrity culture by turning superheros into massive brand with movies, merchandise, and political influence. The clear real world mockery supports the idea that celebrities are truly controlled by they’re higher ups and only serve the purpose to boost certain political, social, and economical agendas.

Beyond the making fun of superheroes, The Boys strongly criticizes real social issues. The show highlights how large corporations can prioritize profit over morality, how fame can shield people from consequences, and how the public can be easily influenced by marketing and media narratives. By exaggerating these ideas in a fictional show, it encourages viewers to take a step back and question if it is as far fetched as it seems. In this way the satire is not just for humor, but rather it pushes the audience to think more critically about real world media.

Meaningful Humor in The Simpsons

When most people this of The Simpsons, they picture Homer strangling Bart or saying “D’oh!” But beneath the bright yellow animation and ridiculous jokes, the show is actually one of the smartest examples of modern satire on television. Even though it first aired in 1989, it continues to comment on current issues in American society in ways that are both funny and suprisingly thoughtful.

The show follows the Simpson family- Homer, Marge, Bart, Lisa, and Maggie who live in the fictional town of Springfield. Most episodes revolve around everyday problems that spiral into chaos. Homer might trust the wrong politician, Bart might rebel at school, or the town may fall for a ridiculous trend.

Springfield is meant to represnt an “average” American town. However, it is filled with corrupt leaders, greedy buisness owners, failing schools, and clueless citizens. Through these exaggerated situations, the show reflects real problems in our society.

What makes The Simpsons more than just a cartoon is the way it uses satire techniques to make a larger point. Springfield looks normal, but everything about it is disfunctional. Leaders are incompentant, systems are broken, and no one seems to learn from their msitakes. This irony highlights how flawed real institutions can be.

The characters are extreme versions of real life sterotypes. Homer represents laziness and lack of critical thinking. Polititians are overly corrupt. Corporations are ridiculously greedy. By exaggerating these traits, the show exposes how these flaws exist in real life, just in less obvious ways. The show often parodies celebrities, political events, movies, and even news media. By copying and twisting real-world situations, it makes audience see how absurd they can be.

Sometimes serious isses, like environmental damage or political corruption are treated casually by the characters. This understatement makes viewers realize how society sometimes ignores big problems.

The show isn’t simply mocking people for entertainment. It critiques systems, government, corporations, education, media and encourages viewers to question them. For example, corporate leaders in the show often care more about money than safety, and politcians manipulate voters for power. These storylines mirror real concerns in society.

Lisa often acts as the moral center of the show. She challenges corruption, fights for the environment, and promotes education. Even when she doesn’t “win,” her voice suggest that awareness and critical thinking matter.

What makes The Simpsons meaningful is that it uses humor to spark reflection. Instead of lecturing the audience, it makes people laugh first, and then think. The satire pushes viewers to notice flaws in society and question whether things should stay the same.

Not Lear, But Harry: Why Comedy Speaks More Honestly About Us.

Aristotle deems comedy as an imitation of characters “worse than average,” not in the sense of moral corruption, but in their susceptibility to erroneous absurdity. Comedy exposes the absurd aspects of human nature without inflicting irreversible harm. While tragedy’s recipe consists of suffering and downfall, comedy insulates recognition through embarrassing correction. Rob Reiner’s When Harry Met Sally… (1989), written by Nora Ephron, exemplifies how long-form comedy enhances our understanding of intimacy, vulnerability, and growth.

Surface level, the film appears to be a conventional romantic comedy. Harry Burns and Sally Albright initially met after college, and from then on over twelve years would repeatedly cross paths. As they cross, they debate whether men and women can truly be friends without romantic complications. This story culminates in romance and its propelling power on two people, but its predictability doesn’t diminish its insight. The film’s strength lies in its commitment to portraying flawed, ordinary people navigating modern relationships.

Harry is cynical, emotionally guarded, and occasionally arrogant. Sally is meticulous, idealistic, and anxious about order. But neither of them are villainous. Their flaws are their humor—Harry’s sweeping generalizations about relationships, Sally’s famously precise restaurant orders. The iconic diner scene, in which Sally theatrically proves that men often misunderstand female experience, is comedic, yet it exposes a deeper truth about miscommunication and ego. The humor works because it illuminates blind spots rather than concealing them.

Unlike tragedy, which magnifies consequence through death or ruin, dramatic comedy amplifies awkwardness. The split-screen phone call scene—Harry and Sally confiding in friends while watching the same film—captures loneliness not through melodrama, but through subtle irony. We laugh, yet we recognize something painfully familiar. Aristotle’s claim that comedy portrays characters “worse than average” becomes evident: we see ourselves in their insecurity, pride, and emotional self-protection.

Importantly, the film does not merely mock romantic delusion; it critiques modern intimacy. Over time, neither character undergoes tragic transformation, but gradual revision, learning not through suffering, but through accumulated missteps and self-awareness. Comedy here becomes developmental rather than destructive.

In the defense of dramatic comedy, we must recognize its subtle moral architecture. Tragedy shocks audiences into awareness, whilst comedy gently exposes them to it. Most human lives are not defined by epic downfall, but by small misjudgments, reconciliations, and gradual change. When Harry Met Sally… reflects this reality. Its characters are not undone by fate; they are reshaped by self-recognition.

If tragedy reveals the fragility of fate, comedy reveals the malleability of character. Dramatic comedy enhances our understanding of the human condition precisely because it dignifies imperfection. We aren’t King Lear, inevitability being destroyed by cosmic forces; we’re Harry or Sally. Comedy reminds us that our flaws are not fatal; they are formative. And that insight is anything but trivial.

Parasite: Satirical Capitalism

Film in the modern day is, and always has been, an exaggerated reflection of society; one that people personally connect with. In the movie Parasite (2019), director Bong Joon-ho grabs hold of that emotional connection, constructing a dark comedy satire of modern-day capitalism. The film follows the Kim family—Ki-taek, Chung-sook, Ki-woo, and Ki-jung—who live in a cramped semi-basement apartment, struggling to make ends meet. At their lowest, the family constructs a series of calculated deceptions, infiltrating the wealthy Park household of an innocent family by posing as highly-qualified employees. What begins as a clever, almost playful-like manipulation quickly descends into violence and tragedy—revealing the fragile illusion of social mobility.

 

At first glance, Parasite appears to be a stylish black comedy about class envy. However, its humor is not comedic—it is strategic. Director Bong establishes the irony before the film’s even begun, naming the film itself its primary satirical weapon. Who is the parasite? 

Through the Kims’ exploitation of the wealthy family’s riches, the Parks family then depend entirely on the invisible labor of those beneath them—those who are poor. This mutual dependency destabilizes the binary of “deserving rich” and “scheming poor.” The Parks, despite their politeness, illustrate parasitism in their own ways—comfortably living in inherited wealth, oblivious to the systems that sustain them. We viewers laugh when the Kims rehearse their fabricated backstories, or while they subtly eliminate previous employees for their own benefit, yet that laughter is tinged with discomfort as we snap-back to reality and recognize their ingenuity sprouts from roots of desperation.

The power of understatements sharpens the blade of Bong’s satirical blade. Mr. Park’s undertoned snubs at Ki-taek’s “smell”—the odor of the subway, of poverty—are delivered politely. Yet said-undertones extort a profound moral rot. The Parks never shout or overtly demean; instead, their microaggressions reveal an unconscious belief in hierarchy. They believe it’s ‘a known fact’ she and her family be treated this way because of the roof they reside beneath. The satire here is subtle: Bong suggests that systemic inequality is not always upheld by cartoonish villains but by “nice” people who benefit from injustice without questioning it.

The film Parasite is not merely mocking the wealthy or romanticizing the poor. The Kims are neither noble revolutionaries nor innocent victims. They deceive, manipulate, and displace others in similar economic positions. In doing so, the film critiques the myth that individual cunning can overcome structural inequality. The final sequence—Ki-woo’s dream of earning enough money to buy the Park house—operates as bitter irony. His fantasy is visually convincing, yet we understand it is unattainable. The American Dream–like-promise of upward mobility is exposed as narrative fiction through Bong’s satire. He expands beyond individual characters, conveying an entirely matted economic system. One that pits the vulnerable against one another, while at the same time preserving ingrained privilege.

 

Ultimately, Parasite’s intentions aren’t for just entertainment purposes—but to unsettlessly awaken its viewers. The humor acts as a lure to the fish in the audience, reeling them into complicity; we laugh at the Kims’ schemes, admire their cleverness—these forms of comedy are a tactical subversion of hierarchy. Giving us the ability to laugh at what’s wrong right in front of us. Dissonance, in some sense. However, the film’s violent climax shatters that dissonance, pulling us viewers into the cost of inequality. Bong constructs Parasite to act in a way that demands viewers to question—question the structure, question the desperation, question the plausible. Rather than offering simplistic solutions, Bong exposes the blueprint—both literal and metaphorical—of class division. Then he leaves us to grapple with its consequences.

The Office: A Satirical Commentary on Modern Office Life

The Office is a satire that follows employees of an “average” branch of a “boring” company that sells paper in Pennsylvania. The TV show is set up as a mockumentary, following the company and how its employees react to the constantly shifting—and ultimately shrinking—world of the paper industry in Pennsylvania. The objectively boring and mundane setting allows The Office to create the perfect environment to subvert the audience’s expectations. Despite the dull setting, the employees who work at the paper company are all unique and interesting characters, which leads to a dynamic story that does the opposite of boring the viewer; instead, it enthralls them.

If you’ve watched The Office, you know it’s a hilarious show, and if you haven’t, you’ve probably heard from other people about how funny it is. Most people think of The Office as a low-stakes comfort show, easy to start and stop at any point. While The Office is an easy watch, with funny, likable characters and equally funny, easy-to-hate characters, if the viewer looks closer, the show tells a deeper story about office life in the United States—particularly office relationships, power dynamics, and the dysfunction of modern nine-to-five life in America.

The Office often uses irony to comment on power dynamics in work environments in the United States. One of the main characters, Michael, is the Regional Manager of the Scranton branch of the paper company. As opposed to what one would normally expect from a boss in a work environment, Michael is childish and incompetent. He often abuses his power by putting his employees through comedic and outrageous situations in an attempt to promote the “family” culture of the office. Additionally, Michael’s lack of work ethic, combined with his position of power, frequently places him in comedic situations. For example, there is an episode in which the other employees discover Michael’s salary, which is considerably higher than theirs. Despite having the highest salary, Michael is shown to do the least amount of work, often pushing his responsibilities onto others or simply neglecting them altogether.

While comedic, beneath the surface the ironic humor in the show highlights the absurd power dynamics and dysfunction present in a typical American office. Similarly to real life, many people in positions of power are often incompetent and out of touch with their employees’ needs and wants. They may abuse their authority to enforce what they believe is best for office culture instead of taking feedback from employees or others who are more involved in the workplace community. Michael’s character is also used to comment on unfair pay gaps within office spaces, with bosses in positions of power often earning more for jobs that may be less demanding than entry-level roles.

Is Comedy Art?

Clueless is a romantic comedy that surrounds the character Cher and her vanity. Though I have seen this movie multiple times, I have never really thought about it as a meaningful art form. I simply thought this movie was just a coming of age film meant for people to laugh at. Clueless fits Artistotle’s definition of a romantic comedy perfectly, as he defines it as “a love plot in which two sympathetic and well-matched lovers are united or reconciled, yet they are kept apart by some complicating circumstance”. So, should this movie be considered a type of art?

To start, if you haven’t seen the movie, it is about this rich and popular high schooler named Cher. She prides herself on being a good matchmaker and giving those around her makeovers. When a new student named Tai arrives at the school, Cher takes the opportunity to try and make her less awkward. However, Tai ends up becoming more popular than Cher, and Cher becomes jealous. She then realizes that her stepbrother Josh was right when he judged her about being misguided and clueless on her actions. By the end of the film, she ends up falling for Josh and becomes a more thoughtful person.

Clueless, like many other comedy movies and shows, was made for making people laugh and being entertaining. Most times, when we watch movies such as these, we don’t look beyond the surface and simply just smile at the scenes and laugh at the jokes. However, oftentimes it is these movies specifically that produce an enhancement of our understanding of the world. Even though Clueless has key messages such as the importance of empathy and self discovery, these messages are hidden and the comedy is what is focused on. Normally, comedy movies are not known for their enhancements of the human condition it is just their humor.

With that being said, I personally believe that comedy can be looked at as a meaningful art form that does enhance human nature. Movies such as Clueless, have central themes about growth, maturity, and self awareness. Though comedy movies are meant for laughs, they can also help us better understand ourselves and the deeper realities that life has. It is essential for people to realize that movies aren’t just meant for making us have a good time; they can also inspire us to make changes in our daily lives. Cher, for instance, transforms from a self absorbed person to someone with empathy, showing others the importance of being genuine and compassionate instead of only caring about appearances and social standings.

 

Mean Girls or Satire?

Mean Girls (2004) is a satirical movie that is all about the absurdity and chaos of high school. The movie is primarily focused on the main character, Cady Heron, who was homeschooled in Africa and moved to Illinois as a teenager for public high school. This transition for her is not easy, as she has to learn how to navigate the complexity of popularity, cliques, peer pressure, and ultimately the social hiearchies that high school brings. She becomes friends with the characters Janis and Damian who encourage her to try and destroy “The Plastics”, a superior and scheming clique led by Regina George. Cady ends up plotting against them by trying to steal Regina’s boyfriend, Aaron, giving weight gaining bars instead of nutritional ones, and various other things. Cady eventually turns into a “Plastic” herself but then realizes how toxic her actions are, which leads her to apologize in front of the whole school. It is basically a movie surrounding social wars and uses satire to emphasize how ridiculous and cruel people can act in high school.

One technique of satire the film uses is irony. The character Regina George often gives Cady and the other girls fake compliments. One key line is when she says, “Oh my God! I love your skirt. Where did you get it?” to a girl in the hallway and then proceeds to say, “That is the ugliest effing skirt I’ve ever seen”, once the girl leaves. This verbal irony helps to convey that, in order to have social power, you need to make others feel insecure, not be kind, and badly manipulate others. Another example of irony in the film is one of the main plot points which is that Cady, who is an outsider at first, becomes just as toxic and fake as the clique she was meant to ruin. This situational irony helps show that people care more about belonging than they admit and how peer pressure can change our values.

Another technique of satire the film uses is hyperboles. One instance of this is with the character Gretchen who constantly tries to make the word “fetch” a thing. This use of hyperbole serves as an exaggeration of her want to make popular trends and also gain more status. Another key example is the “Burn Book”, which is a scrapbook made by the Plastics to spread rude rumors and insults about people at the school. It is a book where they bully others and humiliate their peers. This is an exaggeration of how ridiculous the clique culture, bullying, and gossip is in high school.

Although many people think this is just a comedic film, it is overall a film that criticizes the culture of teenage girls and their social standings. The film exaggerates behaviors to emphasize the cruelty of high school. Additionally, the film uses many techniques to critique the way that teens treat others in high school and is aiming for more people to not overlook the evil/mean they encounter. The movie does make fun of certain people, but more importantly it wants us to focus on our own identities instead of trying to conform in order to be accepted.

Powered by WordPress & Theme by Anders Norén