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
Books
Culture
Romance
5 min read

The surprising last chapter of a guide to modern romance in crisis

Emotive love matters because it points to something truer, deeper, bigger.

Belle is the staff writer at Seen & Unseen and co-host of its Re-enchanting podcast.

A neon sign depicts a message balloon with a heart symbol and a zero next to it.
Prateek Katyal on Unsplash

I ravenously devoured the last book I read, gobbling the majority of it up in one train journey. So swept up in it was I that I accidentally let my (extortionately expensive) tea go cold. The person sitting next to me must have changed three of four times throughout that journey and I’m ashamed to admit that I didn’t look up once. What do you call a person whose extroversion drains out of their body when a book is in their hand?

It was no surprise that this book found its way to me – I’m nothing if not a bandwagon-hopper. And Shon Faye’s latest book – Love in Exile - was a bandwagon I was itching to catch a ride on.

It piqued my interest for two reasons: the subject matter and the authorial perspective.

Firstly, the subject matter – it’s a nonfiction book about the nature of love and the state of romance. And that places it right up my street. If I’m being honest with you, I think about these subjects far too often. You could say that it’s my Roman(ce) Empire, an ‘at least once-a-day’ kind of topic.

The emotions tied up in romance - the language it evokes, the art it fuels, the power it wields - I find it all utterly fascinating. So, any book that’s analysing the romantic goings-on of a societal moment will catch my eye. Now, how about one written by a ludicrously talented transgender woman who ‘grew up quietly obsessed with the feeling that love is not for her’?

Oh, gosh. My interest levels are through the roof.

As I worked through the book, I realised that Shon’s experience of, and attitude toward, romance are completely different to mine; it’s like we’re looking at the same object but seeing different shapes, different colours. And that’s precisely why I wanted to read her book. I wanted to read about a topic I know so well from a perspective I don’t know at all. And it was fascinating, a true collision of the familiar and the unfamiliar.

It was like deciding to be a tourist in my own city, you know? Reading Shon’s words was like hiring someone to show me around my own postcode – letting them tell me about all the things I don’t see, the spots I don’t pay attention to, the streets I have no need to walk down. And Shon’s a good writer, a captivating tour guide – hence the cold tea and antisocial behaviour.

And then I get to the last chapter, entitled Agape

I know that word, I thought. And I’m certain she’s not about to use it in the way I tend to use it – is she? Oh. She is. Shon Faye is about to round up her book on romance with a chapter about the love of God.

My jaw must have hit the train floor as I witnessed her tell her (very many) readers that there’s a spiritual function to romance. That part of the dating crisis we appear to be wading into is due to the spiritual dimension being pulled out of our understanding of love, making dating an inherently selfish endeavour. There’s a missing piece, she proposes, and it’s God. 

Now, I don’t wish to misrepresent Shon, she has great trouble boxing herself into one particular religious tradition and/or understanding of God – I’m not planting a Christian flag in the ground of her book, here. But I must say, her reflections on the spiritual dimensions of romance can sit neatly alongside other Christian thinkers’ work on the same topic.

Romantic love is one of the most powerful forms of love, yet it alone, is never enough. It burns brightly, but too quickly. It needs help.

We can dismiss romantic love, roll our eyes at it, pretend we’ve grown out of it. We can boil it down to endorphins and pheromones – or we can take its power seriously, as Shon has done, and as C.S. Lewis did before her.

Lewis argued that the romantic form of love, when at its best and most noble, has a sort of divine-esque quality. It has a particular power because of its ‘strength, sweetness, terror and high port’- indeed, its tangible nature can teach us much about the passionate and intimate love that God has for us and that we’re supposed to have for each other. There’s a reason, I suppose, that a book of erotic literature is housed within the Bible (Song of Songs). Lewis writes that 

‘This love is really and truly like Love Himself… it is as if Christ said to us through Eros (romantic love), “Thus – just like this – with this level of prodigality – not counting the cost – you are to love me and the least of your brethren”’.

His point being – this emotively-fuelled form of love matters. Why? Because it points beyond itself to something truer, deeper, bigger.

I always marvel at Taylor Swift’s (yes, she’s being brought up – you’re reading an essay on romance, I shan’t apologise) habit to reach for religious language and motif when she’s trying to confine her biggest and deepest feelings to language. For example, when singing to a man that she has come to regard as ‘the smallest man who ever lived’, she announces that ‘I would’ve died for your sins, instead I just died inside…’ This isn’t trivial. What’s the deepest, most self-sacrificing act of love she has in her locker of references? Jesus dying for peoples’ sins. An act which, apparently, her romantic feelings for this undeserving man point her toward. Jesus’ death is the only love-fuelled act that feels true enough to sit within this anthem of heartbreak.

Interesting, isn’t it?

Romantic love is one of the most powerful forms of love, yet it alone, is never enough. It burns brightly, but too quickly. It needs help. It needs something to fill its (many) gaps. It needs parameters. It needs, Lewis argues, to be ruled. And this is where he and Shon Faye are in surprising alignment.

So strong is romantic love, that we can over-trust it, over-honour it, we can strip it of any kind of self-giving-ness and make it some kind of agent of our own salvation. It can make us selfish, tempt us to use it as a tool of redemption. Instead of pointing toward God, it tricks us into treating it as if it is God. This is precisely what Shon Faye warns her readers of: if you don’t have something to rule over this super-charged form of love, it will rule over you.

We must, both Shon Faye and C.S. Lewis argue, re-imbue romance with spiritual meaning. 

We must not fool ourselves into thinking that it is everything, nor should we kid ourselves into regarding it as nothing. We must consider it a glimpse of the love that is God and treat it accordingly.

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