Review
Comedy
Culture
Film & TV
4 min read

Last One Laughing: we’re less in control than we think

"Humour is human" and deeply strange.

Jonathan is a priest and theologian who researches theology and comedy.

A montage shows a group of comedians trying not to laugh.
Amazon MGM Studios.

10 comedians shut in a room. Last one to laugh wins. 

It’s a simple concept, and with the addition of a few gimmicks, including games and surprise guests, Last One Laughing delivers on it. The show isn’t creative – there have been at least 27 previous versions in various languages – but it is successful and is a much-needed boost for Amazon Prime, whose content has tended to flop recently. 

I enjoyed the show. It amused me, which is what it was supposed to do. I didn’t necessarily laugh out loud, and I think I probably would have enjoyed all the comedians doing their own standup better. Some of the comics have made their infectious laughter such a part of their charm that it was a bit bizarre seeing them crack jokes without having a giggle (I’m looking at you Bob Mortimer). 

But overall, I had a good time watching Last One Laughing. I was entertained and I would recommend it. Jimmy Carr is unusually likeable as a host, though I wanted to hear more from Roisin Conaty, whose role as co-host was almost non-existent. Richard Ayoade was his normal genius self. And there were a few genuinely standout moments: I think my favourite was Rob Beckett whispering to Joe Wilkinson “you’ve doing a really really good job of showing off, lots of funny bits."

In fact, as that moment suggests, the show is probably at its best when it gets a bit meta, as the comedians reflect on their own comedy and what it is like to be a comic. Moreover, there is a genuine warmth between everyone, and an appreciation of each other’s talents, which gives the show a particularly endearing tone. 

It’s good, mindless, not particularly clean (definitely not family friendly!), fun. 

So Last One Laughing doesn’t tell us much we don’t already know. It’s not supposed to. It’s light entertainment. 

Comics are funny.  

Often the unexpected makes us laugh. 

Not laughing can be very hard. 

This last point, though, is perhaps worth thinking about a bit further. It is familiar to everyone. Who hasn’t felt the physical pain of trying to restrain the giggles in a moment when we really must not laugh? 

 But this is one of those things that is so familiar we often miss how strange it is. 

Philosophers since Aristotle have speculated that laughter is one of the things that makes humans unique, since we don’t know of any animals that laugh. Whether the claim about human exceptionalism is correct or not (and I confess I remain agnostic about this), it does seem that laughter is a practically universal experience of human beings. As Philosopher Simon Critchley puts it, “humour is human.” 

But if this is true, then laughter as a phenomenon also highlights some of the eccentricity of our humanity. For, as Last One Laughing shows us so clearly, laughter is only ever partially under our control. 

Our bodies, our spirits, even our minds, can betray us at any moment. That something we don’t want, even something good like laughter, can erupt from within. 

We often like to imagine ourselves as rational beings, whose lives are characterised by making informed and free choices. We think we are in charge, at least of ourselves, and that we move through the world intentionally, with purpose and direction. 

And yet, into this nice picture of a life under control, laughter breaks in, often uncontrollably. Our muscles spasm. Our eyes stream. Our vocal cords erupt in strangely animal snorts and grunts. 

The fact that professional comedians and actors can’t maintain a straight face, sometimes in the face of their own jokes (take a bow Daisy May Cooper), should remind us that there is much in ourselves that is beyond our conscious control. Our laughter almost always has cognitive content. It involves our minds. We laugh at things. 

But it is always embedded within a body. Laughter, with all its bodily shakes and muscle twitches, sometimes just can’t be kept in, no matter what our minds and consciousness tells us. 

Christianity has long been aware of our lack of control. Paul, writing to the church in Rome, lamented that “I do not do what I want to, but I do the very thing I hate.” St Augustine, one of the greatest theologians of the Western Church, wrote in the fourth century that “I had become to myself a vast enigma.” Martin Luther, the sixteenth century German theologian, began the Reformation and changed history, in part over an insistence that we are far less in charge of ourselves than we like to think. 

Yet such writers do not counsel despair. Instead, they allow our lack of control to point to our need for God and his help. Paul, a few verses after the previous quotation, cries out: “Wretched man that I am! Who will rescue me from this body of death? Thanks be to God through Jesus Christ our Lord!” 

Now, for all these authors, the stakes are high – they are talking about sin, death and damnation. The comedians in Last One Laughing are playing a much more relaxed game, all that they stand to lose is pride. Yet they too, one by one, discover that they “do not do the thing they want.” 

And so, they are learning a version of a Christian lesson – that we are less in control of ourselves than we might like to think. That our bodies, our spirits, even our minds, can betray us at any moment. That something we don’t want, even something good like laughter, can erupt from within. 

Now most of us, most of the time, probably enjoy the uncontrollability of laughter. It’s one of the things that make comedy enjoyable, both to watch and to perform. But it should maybe make us aware of other, less benign losses of control. Or at the least it should remind us that there is much in us that escapes our attempts at self-mastery. 

Last One Laughing reminded me that laughter is stranger than we think. Just as I am stranger than I think. 

Review
Art
Culture
Film & TV
War & peace
4 min read

Not for glory or galleries, capturing modern wars through art

Mary Kinmonth documents the battles women artists see.
In a bombed-out tiled room, two art works hang in the shape of a tiled jacket and shape
Second Hand 7, by Zhanna Kadyrova
Foxtrot Films.

 

When it comes to war, what do women see that men don’t? This is the question asked repeatedly throughout British filmmaker Margy Kinmonth’s new documentary War Paint: Women at War. The third part of a trilogy, the film focuses on the stories of female artists who have created art in their experience of war and conflict. From British women during the London Blitz to those responding to contemporary conflicts in Iran, Ukraine and Sudan, the film takes a thoughtful look into how war has been experienced by those who have been previously excluded from the story. 

Zhanna Kadyrova is a Ukranian artist working from a progressing front line. One sequence shows a fight against time as her team attempts to remove one of her public sculptures as the front line draws closer. Kadyrova operates in recent conflict zones– one of her series involves transforming tiled walls in bombed-out rubble into clothes that appear to hang from the remaining walls. In the wake of violent destruction, Kadyrova wants you to remember the lives left behind. 

Shirin Neshat is an Iranian photographer and artist working from New York. Her work brings together the weapon, the human body, the veil, and the text of the Qu’ran to ask questions of the impacts of the Iranian war on women.  Neshat makes you look right into the eyes of these women– she puts weapons of war into their hands and thus gives them agency that the Iranian government has taken away. 

Marcelle Hanselaar’s work shows the unspoken side of war- depicting the aftermath of violence and sexual assault that many women experience when conflict rips through their homes. 

Women at War brings the audience through one female artist after another, depicting a diversity of styles, voices, and perspectives that range from official war commissions to illegal graffiti. The artists shown don’t even all agree with filmmaker Margy Kinmonth’s premise - that women always see things differently from men. But what they bring together is a view of war far removed from ideas of national glory that often line the halls of national galleries. 

The filmmaker’s own art teacher, the painter Maggi Hambling, says this: 

“For men, victory and defeat marks the end of a war. For the woman, the war doesn’t end.” 

Knowing the consequences and aftermath of war– destroyed communities, post traumatic stress disorder, sexual violence, broken families, that war is more than valiance– isn’t a perspective held by women alone. 

According to a recent YouGov poll, “a third of 18-40 year olds would refuse to serve in the event of a world war – even if the UK were under imminent threat of invasion.” Among reasons listed are an unwillingness “to fight for the rich and powerful – who they see as profiteers or otherwise unfairly able to avoid the consequences of conflict themselves.”

As one respondent put it: "My life is more valuable than being wasted in a war caused by rich people’s greed."

Women have been speaking up for the last 50 years, and the young have heard them. War is not glory, but trauma. Young people see this when they look around. They don’t easily buy into nationalist rhetoric and have no pretenses about the glory of war. They know war is not a place to seek accolades upon accolades, but an evil reality that pays an inordinate toll on human society. 

Today, global tensions are high, and war seems more possible a reality for many in England than previously. Keir Starmer has said the government will increase military defence spending to 2.5 per cent of the national budget by 2027. But Brits aren’t lining up to buy their uniforms. 

If the UK government expects its young citizens to prepare for conflict, they need to be honest about what that involves. They need to be prepared to face a knowing crowd about the realities of war and show a willingness to fight for their lives during peacetime. It’s not that young people are politically disinterested or unwilling to take a stand when it matters. Students at universities rising up in pro-Palestine protests or climate activism reveal that they care greatly about the world they are living in. They want to take an active role in shaping it, and aren’t afraid to face consequences if they find a worthy fight. 

Political commentators used to think we have reached “the end of history” with liberal democracy the last man standing. But War Paint: Women at War shows us that even an end to war doesn’t bring the end of suffering. It complicates the narrative that war is a path to victory. Everyone pays the price of war, yet those in power rarely bear the burden. If leaders want young people to fight for their country, they must first prove they are fighting for them. Otherwise, no one will answer the call.

 

View stills from the film and find screening times.

Watch the trailer

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