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. 

Article
Culture
Fun & play
Holidays/vacations
5 min read

How were your holidays, Molly-Mae?

How to deal with the disappointment of influenced vacations

Susan is a writer specialising in visual arts and contributes to Art Quarterly, The Tablet, Church Times and Discover Britain.

Influencer Molly_Mae poses beside her luggage.
Where next?
@mollymae

The thrill has gone. So gone. Holidays, once the highlight of the year have become bottomless seas of disappointment. When the luxury travel bestowed on influencers like Molly-Mae Hague amounts to “not done one fun thing”, how can holidays become joyful again? 

Travellers’ tales have always dappled dark through the light. Whose heart does not go out to the Wedding Guest, cornered into listening to the Ancient Mariner’s story of seafaring mishaps in Samuel Taylor Coleridge’s poem? Even St Paul found some of his Eastern Mediterranean journeys trying: “in toil in hardship, through many sleepless nights, through hunger and thirst, through frequent fastings, through cold and exposure.” Taking a different tack, Chaucer’s seasoned pilgrim the Wife of Bath, with Jerusalem, Rome and Santiago under her belt, advised seizing whatever opportunities for pleasure your location afforded:  

“I made my visitaciouns, To vigilies and to processiouns, To prechyng eek, and to thise pilgrimages, To pleyes of miracles, and to mariages.” 

Admittedly the scope for miracle plays and marriage proposals is limited in a travel landscape of overcrowded airports beset by delays, ‘lively’ cruises and plane rage. Other people and sky-high expectations are travel’s inescapable bugbears. 

A mother of two who left a Mediterranean cruise early, because of fellow passengers’ drinking and raucous behaviour, according to reports had paid £3,000 for a fortnight’s family holiday. Working out at less than £72 per person, per day it’s difficult to know how the cruise company could cover the costs of providing full board and sailing around the Med, let alone supply staff for the allegedly tardy vomit cleaning on deck.  

Cheap travel always comes at a price. But we wish it didn’t. BBC’s Race Around the World is wildly popular because it presents budget travelling with the tedium edited out, or at least fast forwarded. And with medical teams and security advisers on hand, to protect contestants from serious harm. This is a world away from shoestring travel as we know it: getting transport and arriving at times of day nobody would choose, waiting in the freezing cold or boiling heat and weighing up the loos’ likely state against your growing desperation. Budget airlines let us travel amazing distances at, sometimes, amazing prices, but the hard currency we pay in is time, as protracted boarding, cabin bag size cat-and-mouse at the gate, peripheral runways and middle of nowhere airports, devour the hours.  

But media exhortations to ‘see the world’ and digital nomad lifestyles, regardless of resources, airbrushes this reality away. Except when travellers fall ill having ‘forgotten’ or trimmed travel insurance from holiday budgets. Then their Go Fund Me appeals, complete with hospital bed photo, are treated with derision, echoed by rafts of comments delighting in the misfortune and pain that ‘serve them right’. 

Into this moral soup of self-pity for our own travels’ pitfalls, scorn for those even less successful at having a good time than we are, and envy towards travellers who buy their way free of inconvenience, land influencers such as Molly-Mae and sister Zoe-Rae.  

Instagram’s illusionary nature does not diminish the hard work and talent needed to create an endless stream of beige outfits and bikinis by the pool image

In July Molly-Mae lamented to her 8 million Instagram followers that she had “not done one fun thing all summer”, despite sharing trips to Budapest, Dubai, St Tropez and Disneyland Paris. Notwithstanding flying by private jet, Disneyland Paris was at times “unenjoyable” due to the school holiday weekend crowds, and visitors surreptitiously taking phone photos of the influencer and recently reunited partner, boxer Tommy Fury. A more recent trip to the Isle of Man in a new £86,000 motorhome, acquired by Tommy so their two-year-old daughter Bambi could experience more “normal” holidays, also had its challenges.  The “spontaneous” journey from Cheshire “literally booked the ferry to the Isle of Man an hour before we needed to leave”, was marred by ferry delays, navigating to the camp site, and their toddler’s vocal displeasure at a disrupted routine, resulting in Bambi being “so unhappy”.  

Also in July, Molly-Mae’s fitness influencer sister Zoe-Rae, told her 645,000 followers that Uluwatu in Bali proved so disappointing, she and husband Danny abandoned their anniversary trip after 48 hours. Zoe’s chief lament was the difference between their experience of the resort and what social media had led them to anticipate. “We came here with high expectations... Lovely places to eat and beaches, and lovely gyms and coffee shops. But I don't think the reality of Bali is shown much at all, and I do think it is down to a lot of influencers posting the more luxury side of things.” Zoe’s “lot of research” was not enough to bridge the gap between the reality of being in densely populated Indonesia, ranked an upper middle-income country by the World Bank, with wide income disparity and welcoming up to 16 million tourists this year, and Instagram’s filtered images. 

For sisters who make a very good living from social media, it is intriguing the staged nature of Instagram images did not overly inform their travel decisions. Influencers’ shots of travel perfection come from, sometimes physically, pushing out people and necessities of everyday living from scenes. What is presented as relatable or aspirational is fantasy. 

Instagram’s illusionary nature does not diminish the hard work and talent needed to create an endless stream of beige outfits and bikinis by the pool images. But the aspirational, five-star lifestyle this is supposed to represent feels like something dreamed up by marketing or algorithms, rather than a true representation of individual desires. Influencers’ flurry of bizarrely timed ‘luxury’ travel should be read more as work contracts than recreation. 

Succession creator Jesse Armstrong deliberately created the world of media mogul Roy family to be bland, beige, corporate luxury, with each under-appreciated home around the globe looking like the other. Community, local culture and people other than the Roys go unacknowledged. In an event with Armstrong, former Archbishop of Canterbury Rowan Williams said the phrase “boring as hell” is no accident, and that to live life purely for our own pleasure and gain, without connection to others, is a living hell. 

The rise of ultra endurance sport holidays such as the UltraSwim 33.3 in Croatia, recreating the distance of swimming the Channel, marks a trend for travellers seeking transformation rather than relaxation from time off. Humans evolved through facing challenge and adversity. 

And such transformation is not only the preserve of the sporty. Last year on a tour of eastern Romania’s painted monasteries, a monk showing us Neamt Monastery’s candlelit, skull-filled catacombs said travel taught two things: life is lived in days not years, and to learn to be patient and accepting of each other, however long it took. If Molly Mae’s family fancied taking their new motorhome on eastern Romania’s authentically surfaced roads, discovering the joy in each finite day, and finding locals’ and fellow travellers’ inherent worthiness, rather than irritants to be airbrushed away, that’s a post we could all relate to. 

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