Opinion: Comedy is losing its charm with censorship
As modern America becomes more adamant on censoring media with any vulgar language, casual stereotypes (Apu on the Simpsons) and anything containing controversial opinions (YouTube demonetization), comedy has been losing its charm and impact.
Film has become more progressive in the past decade about the removal of negative depictions and stereotypes in their products. For instance, according to the Hollywood Reporter, certain episodes of “The Muppet Show” now have disclaimers cautioning views about “negative depictions and/or mistreatment of people or cultures.”
The show was produced in a time where such depictions were appropriate. Now, awareness on the discrimination has increased, making it inappropriate in our modern day. However, it remains available for streaming with precautionary messages.
Other films such as “Breakfast at Tiffany’s” are also under scrutiny from a 21st century perspective because of the racial slurs towards Japanese culture made for comedic purposes. Precautionary messages should be added, but the film should not be banned or removed.
This is an approach that should be taken to past and previous films, including that of works of comedy. The type of comedy I am talking about is standup comedians and movie/television productions. Comedy should not be removed or purged for what is interpreted as but instead include cautionaries as to not offend those that do not wish to watch such material.
When asked if censorship was socially progressive or retroactive, sophomore Brynn Francis had much to say. As an acting major at Utah State University, she sees what is considered appropriate or not throughout her history in theater.
“Pure censorship is retroactive,” she said, “What is progressive is awareness. Human nature, history and issues that are currently happening are acknowledge in comedy. Material that could be considered traumatic should be given trigger warnings like we do for dark comedies in plays.”
Sydney Lehenbauer, a junior history major at USU, when asked the same question, answered with historical context.
Lehenbauer said in famous Shakespeare plays, he would make jokes about higher wealthy individuals and real-life political figures, in his community in this play. He would change the names of course, but everyone watching knew who he was talking about. This in and of itself is a political stance, looking at those who believe there are superior and taking them down. We wouldn’t rid the world of Shakespeare for its use comedy as commentary on the upper class.
Lehenbauer also said comedy “releases the tension on certain aspects of life not openly talked about: race, the economy, current events. Take the 2020 elections for instance. Jokes made about either candidate are found funny by both sides of the political spectrum. Your stance doesn’t matter for it to be funny. Comedy is the stuff you’re not supposed to laugh at.”
In 2017, a documentary film titled “The Problem is Apu” by Hari Kondabolu discussed the negative and racial stereotypes about the Simpsons character Apu Nahasapeemapetilon, an Indian grocery store worker. He made several good points about how Apu was one of the only Indian characters on television when he was young, but was constantly being stereotyped by his actions, family and other characteristics.
In the film, Kondabolu quoted his mother saying, “You can criticize something you love because you expect more from it.”
Shows like the Simpson should not be canceled, nor should previous episode be removed from the air. The shows depiction does not incite violence (which is grounds for removal or cancelation), but it does incite narrowmindedness and discrimination against Indian heritage.
It is the station’s right for the show to go on as is just as much of a right as it is for Kondabolu, a viewer, to create this documentary and voice is concerns against it.
Freedom of speech works both ways in the world of censorship. It means if you believe the material should be censored you can say you don’t agree with it, but you can’t take the comedians right away to say those jokes. It’s your choice to be offended, even your right. But it also their right to offend you.
If you start to remove certain aspects of comedy, start to interpret what should and should not be aired you come to a controlling aspect of media. Who gets to decide was is appropriate or not?
YouTube’s demonetization believes it can. YouTube decides what is advertiser-friendly content — that is content that the creator on YouTube can make a profit off. Sensitive events (such as negative traumatic events) and controversial issues fall into the no category.
While it is ultimately YouTube right as a private organization to make that decision, it is the fact that swearing and jokes in certain topics gain profit. Only certain comedy is deemed appropriate now, as this was not always YouTube’s stance on the matter.
Comedy is subjective. Comedy is full of quips towards strategies in the economy and coronavirus, to making jokes about different types of ethnicities, gender, sexuality and life trauma.
Comedy is also complicated. What is said needs to be contextualized, both to the time and current pollical climate. Comedy is not meant to be censored — by censoring it loses its charm.
Making jokes about the negative traumatic events is a way for comedians to relate to their audience and relieve the tension. Jo Koy making jokes about Filipino stereotypes as a Filipino makes the jokes relatable in the audience of the same ethnicity, makes the stereotypes more like common ground. The charm of his comedy, the relatability, would be lost if it were censored.
Chris Rock said he will not perform at colleges because of political correctness in modern undergraduate culture.
“This is not as much fun as it used to be,” Rock said.
Jerry Seinfeld said he wouldn’t either.
The sensitive nature towards comedy is acceptable and, in many ways, even welcomed but not to the effect of removing the comedic piece altogether.
The Huffpost said it best: “You cannot cater to everyone, and everyone is offended by something.”
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Sara Prettyman is a Maryland-born-and-raised sophomore majoring in applied mathematics. She loves drawing, running and reading.
— A02342348@usu.edu