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
Addiction
Community
Culture
Film & TV
4 min read

This City is Ours – truth and lies about the global drugs trade

The drug-dealing family drama reflects the impact of the drugs world.

Henry Corbett, a vicar in Liverpool and chaplain to Everton Football Club.  

  

A montage of a grown-up family.
Family saga.
BBC.

I asked a thoughtful Scouser and cinephile “What do you think of This City is Ours? – the crime drama TV series set in Liverpool. I wondered if he would hate all the talk of drugs, the power games, the violence and that the series about a global trade is located in our city. 

“Well, it’s true.” 

As a priest in Liverpool, I have taken the funerals of drug dealers and users, including one where the family quoted me Jesus’ saying, “Those who live by the sword will die by the sword.” I have known too many people caught up first in the heroin trade of the 1980s and then more recently with cocaine. 

I agreed that the series is truthful, and on many levels. Those involved in the criminal world of illegal drugs are still people.

I remember Peter (not his real name) who I knew when he was a young lad in the youth club I helped with. He was sitting in our kitchen with a mug of tea. He had bruises all over his face because of a drugs debt he hadn’t paid. One of my daughters came in to get something out of the fridge, and Peter apologised to her for the state of his face, explained it was because of being involved in drugs, and advised her strongly against it. He then asked after her interests and what she enjoyed and was ‘made up’ – happy - when she spoke of liking art. My daughter never forgot that conversation.  She learned that people in the drugs trade were still people and could be kind, and that the illegal drugs world was to be avoided. People are both made in the image of God, capable of love and concern, and also flawed and able to be drawn into a trade that affects people so badly across the world.  

So, the eight episodes of the first series of This City Is Ours show that the global criminal world of illegal drugs is brutal, violent and full of jeopardy. There are chilling deaths, executions, and vengeance. All truthful to that world. There are power struggles and a vicious family succession battle too. But there are also scenes of the same family at the dinner table, of the longing for a baby with a girlfriend who is very much loved. One moment a character is a hard-hearted killer and the next moment a tender partner. That is so truthful to the different compartments that people can live in: someone can be a loving son who cares for their mother and a ruthless power-hungry toxic gangster. 

The consequences of that unnecessary “necessary” action are tragic.

A further truth that I see at every funeral is the ripple effect on partners, siblings, parents, the wider family, and friends, and outward across the community. Every episode of the show features family members: some in the gang, some outside the gang, some wanting a cut of the lucrative proceeds, others desperate to get out from this dangerous, chilling world. What we do can massively affect others close to us. So often family and friends, and a community, must live with the consequences of actions taken in a criminal underworld they are often excluded from and fearful of. Even young children can be affected and dragged into a battle for power.     

So, there are truths, but what about the lies? Here’s two stand outs: 

“Are we safe?”   “Yes, babe.” 

We know they are not safe. Definitely not. There’s a target on your back, and often on the family’s back as well. 

And the second: 

“It was necessary”. Or “f***ing necessary”. 

No, it wasn’t. He didn’t have to become engaged in a succession struggle for power, money, and control. He didn’t have to kill someone he looked up to, respected, even loved. The consequences of that unnecessary “necessary” action are tragic.  

Then there is the third lie about loyalty and trust. That false sense of being in a gang that will look after you and look out for you, that will secure your future and give you a sense of being someone who counts. From early on, this series shows that people are expendable, can be shot and tossed over a cliff, and that person you looked up to may be an informant to the police. That is maybe how they have stayed out of prison.  

A fourth lie the series so truthfully nails is the notion that it is easy to walk away once you have seen through the attractions of money, of Spanish villas, of designer gear, of fragile power. It very often isn’t. You may desperately want a worthwhile life that brings good not bad, peace not killings, a freedom from looking over your shoulder and from a troubled conscience. But there may be money demanded by your supplier, there may be enemies you have made along the way. I have known people successfully move away from it all but that has often only been after a spell in prison, and with a sound alternative - whether a job to keep, a daughter to look after, or a move away. 

Wisdom is a much-valued quality throughout history. Five of the Bible’s 66 books are often called Wisdom books and Jesus called Christians to be “wise as serpents and innocent as doves.” This City is Ours is beautifully shot, expertly scripted, brilliantly acted, and it truthfully lifts the lid on the world of the drug-dealing criminal underworld and on some of the lies peddled in that world. And I did explain in the funeral service that when Jesus said “Those who live by the sword will die by the sword” he was not recommending that way of life but warning against it.