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
Belief
Culture
Music
5 min read

Mumford & Sons search for meaning

Wonder about which love they sing of - earthly or divine.

Steve is news director of Article 18, a human rights organisation documenting Christian persecution in Iran.

A band lounge around.
Pondering the reviews.
Mumford & Sons

My old RE teacher always liked to make the point that meaning can be found in anything, if you want to find it.  

“Do you find meaning in a sunset?” he’d ask. “Or only beauty?” 

From the outset of Mumford & Sons’ new record, ‘Rushmere’, the deeper things, as ever, are front and centre - at least for those of us who wish to find them. 

The folk band’s records have always been replete with religious undertones - lead man Marcus Mumford is the son of a preacher, don’t you know? - and they are apparent from the very start of the band’s fifth studio album and first since 2018. 

‘Rushmere’ kicks off with ‘Malibu’, which speaks of finding “peace beneath the shadow of your wings”, and an unnamed “you” being “all I want” and “all I need”. 

There’s even talk, right at the beginning of the song, of feeling “the spirit move in me again - the same spirit that moves in you”.  

Precisely which spirit is meant is never defined - these are song lyrics, after all, not a sermon - but for this listener at least, the reference to the third member of the Trinity appears clear. 

Not every song on the album hits such obvious religious notes, but the opening track is far from unique. Indeed, one needs only to flick through the names of the other songs to get a hint of the deeper meanings on offer, with titles such as ‘Truth’, ‘Anchor’ and ‘Surrender’. 

Meanwhile, in ‘Monochrome’, we’re told that even within a hyacinth can “life”, “restoration” - even “Christ” - be found.  

Could the “out of sight” monochrome “beyond reason” that we are called to contemplate represent the Christ - in theological terms, the “Word” of God - whose fingerprints can be seen across Creation? 

And what is meant when Mumford sings that “the kind of love that I’m always chasing is the kind of love that won’t be chased?”  

As with many of the band’s lyrics, there appears space for both a romantic and religious reading, though perhaps romance is harder to read into metaphors such as a “cup running dry”, as Mumford sings elsewhere in ‘Monochrome’.  

Is it only me for whom this evokes memories of the old Sunday school refrain: “Fill up my cup and let it overflow”? 

‘Truth’, meanwhile, begins with the fairly blunt statement: “I was born to believe the truth is all there is.”  

“Oh my love, hold me fast,” the song ends, and again we are left to wonder about which love he is singing - earthly or divine. 

It isn’t made clear whether such belief remains intact today, nor even which truth is meant, given that we now live in times where such things seem occasionally grey. But ‘Surrender’ appears more black and white, speaking of being brought to one’s knees, “broken” then “put back together”, and “held in the promise of forever”.   

“I surrender, I surrender now,” Mumford cries - words Christian congregations have sung for centuries. 

And as ever with a Mumford & Sons record, ‘Rushmere’ doesn’t hold back from the trickier theological issues, touching upon the concepts of both hell and original sin. 

“Let your anger go to hell,” ‘Where It Belongs,’ Mumford sings in the track of the same name, which is sung like a lament, while in the final track, ‘Carry On’, those of us who believe in original sin are encouraged to consider that “there’s no evil in a child’s eye”. 

“It was made, and it was good,” Mumford sings in a nod to the Creation story, when the world was blemish-free. 

Meanwhile, in ‘Anchor’, Mumford sings that he “can’t say he’s sorry if he’s always on the run from the Anchor”. Which for some of us, at least, will conjure recollection of part of the Bible’s Book of Hebrews that speaks of our “hope” - Jesus - being “an anchor for the soul, firm and secure”. 

“Oh my love, hold me fast,” the song ends, and again we are left to wonder about which love he is singing - earthly or divine. 

Fans of Mumford & Sons - and yes, you’ve guess it, I count myself among them - will recognise that particular phrase from a previous hit, ‘Hopeless Wanderer’, which again seemed to speak to a life of faith; of pilgrims “called by name” trying “so hard to live in the truth”, but being “prone to wander”, as it says in the hymn ‘Come Thou Fount’, which Mumford has also been known to perform. 

So this is not the first Mumford & Sons album to have contained such imagery. Far from it. For those of us who’ve followed the band since their debut album, ‘Sigh No More’, in 2009, there have always been calls to ‘Awake My Soul’ or to find comfort in a future day in which there will be “no more tears.”  

In the years since, we have been encouraged to be ‘Lover[s] of the Light’, or to find hope in a ‘Guiding Light’ who won’t ‘Slip Away’ in the night. 

Perhaps, then, there’s nothing very different about ‘Rushmere’ - it represents just another chapter on a journey of faith - but this particular fan continues to appreciate, deeply, the depth that Mumford and his bandmates continue to bring to our ears.  

And as for the music, well I suppose by now that most readers will probably be familiar with what one can expect from a Mumford & Sons album, and ‘Rushmere’ certainly doesn’t disappoint those of us who like that kind of thing. 

It’s notably shorter than the previous album - nearly half the length - but is probably no worse for it. It’s hard to think of a weak song on the album, while there is something for everyone: from the country feel of ‘Caroline’ (think Counting Crows/Ryan Adams) and rock and roll of ‘Truth’, to the gentle fingerpicking and harmonies of ‘Monochrome’. Heck, the banjos even make a comeback on the self-titled ‘Rushmere’, so truly something for everyone - or at least for all of us fans.   

By the way, my old RE teacher never told us what he believed, but I later found out that he’d once been ordained, so I suppose that he, like me, might still find meaning in a sunset or even, perhaps, a Mumford & Sons record.

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