Tag Archives: Comedy

HEEERE’S NOBODY

On the ghosts of late night, and the algorithm that laughs last.

By Michael Cummins, Editor, September 21, 2025

The production room hums as if it never stopped. Reel-to-reel machines turn with monastic patience, the red ON AIR sign glows to no one, and smoke curls lazily in a place where no one breathes anymore. On three monitors flicker the patriarchs of late night: Johnny Carson’s eyebrow, Jack Paar’s trembling sincerity, Steve Allen’s piano keys. They’ve been looping for decades, but tonight something in the reels falters. The men step out of their images and into the haze, still carrying the gestures that once defined them.

Carson lights a phantom cigarette. The ember glows in the gloom, impossible yet convincing. He exhales a plume of smoke and says, almost to himself, “Neutrality. That’s what they called it later. I called it keeping the lights on.”

“Neutral?” Paar scoffs, his own cigarette trembling in hand. “You hid, Johnny. I bled. I cried into a monologue about Cuba.”

Carson smirks. “I raised an eyebrow about Canada once. Ratings soared.”

Allen twirls an invisible piano bench, whimsical as always. “And I was the guy trying to find out how much piano a monologue could bear.”

Carson shrugs. “Turns out, not much. America prefers its jokes unscored.”

Allen grins. “I once scored a joke with a kazoo and a foghorn. The FCC sent flowers.”

The laugh track, dormant until now, bursts into sitcom guffaws. Paar glares at the ceiling. “That’s not even the right emotion.”

Allen shrugs. “It’s all that’s left in the archive. We lost genuine empathy in the great tape fire of ’89.”

From the rafters comes a hum that shapes itself into syllables. Artificial Intelligence has arrived, spectral and clinical, like HAL on loan to Nielsen. “Detachment is elegant,” it intones. “It scales.”

Allen perks up. “So does dandruff. Doesn’t mean it belongs on camera.”

Carson exhales. “I knew it. The machine likes me best. Clean pauses, no tears, no riffs. Data without noise.”

“Even the machines misunderstand me,” Paar mutters. “I said water closet, they thought I said world crisis. Fifty years later, I’m still censored.”

The laugh track lets out a half-hearted aww.

“Commencing benchmark,” the AI hums. “Monologue-Off.”

Cue cards drift in, carried by the boy who’s been dead since 1983. They’re upside down, as always. APPLAUSE. INSERT EXISTENTIAL DREAD. LAUGH LIKE YOU HAVE A SPONSOR.

Carson clears his throat. “Democracy means that anyone can grow up to be president, and anyone who doesn’t grow up can be vice president.” He puffs, pauses, smirks. The laugh track detonates late but loud.

“Classic Johnny,” Allen says. “Even your lungs had better timing than my band.”

Paar takes his turn, voice breaking. “I kid because I care. And I cry because I care too much.” The laugh track wolf-whistles.

“Even in death,” Paar groans, “I’m heckled by appliances.”

Allen slams invisible keys. “I once jumped into a vat of oatmeal. It was the only time I ever felt like breakfast.” The laugh track plays a doorbell.

“Scoring,” the AI announces. “Carson: stable. Paar: volatile. Allen: anomalous.”

“Anomalous?” Allen barks. “I once hosted a show entirely in Esperanto. On purpose.”

“In other words, I win,” Carson says.

“In other words,” Allen replies, “you’re Excel with a laugh track.”

“In other words,” Paar sighs, “I bleed for nothing.”

Cue card boy holds up: APPLAUSE FOR THE ALGORITHM.

The smoke stirs. A voice booms: “Heeere’s Johnny!”

Ed McMahon materializes, half-formed, like a VHS tape left in the sun. His laugh echoes—warm, familiar, slightly warped.

“Ed,” Carson says softly. “You’re late.”

“I was buffering,” Ed replies. “Even ghosts have lag.”

The laugh track perks up, affronted by the competition.

The AI hums louder, intrigued. “Prototype detected: McMahon, Edward. Function: affirmation unit.”

Ed grins. “I was the original engagement metric. Every time I laughed, Nielsen twitched.”

Carson exhales. “Every time you laughed, Ed, I lived to the next joke.”

“Replication feasible,” the AI purrs. “Downloading loyalty.”

Ed shakes his head. “You can code the chuckle, pal, but you can’t code the friendship.”

The laugh track coughs jealously.

Ed had been more than a sidekick. He sold Budweiser, Alpo, and Publisher’s Clearing House. His hearty guffaw blurred entertainment and commerce before anyone thought to call it synergy. “I wasn’t numbers,” he says. “I was ballast. I made Johnny’s silence safe.”

The AI clears its throat—though it has no throat. “Initiating humor protocol. Knock knock.”

No one answers.

“Knock knock,” it repeats.

Still silence. Even the laugh track refuses.

Finally, the AI blurts: “Why did the influencer cross the road? To monetize both sides.”

Nothing. Not a cough, not a chuckle, not even the cue card boy dropping his stack. The silence hangs like static. Even the reels seem to blush.

“Engagement: catastrophic,” the AI admits. “Fallback: deploy archival premium content.”

The screens flare. Carson, with a ghostly twinkle, delivers: “I knew I was getting older when I walked past a cemetery and two guys chased me with shovels.”

The laugh track detonates on cue.

Allen grins, delighted: “The monologue was an accident. I didn’t know how to start the show, so I just talked.”

The laugh track, relieved, remembers how.

Then Paar, teary and grand: “I kid because I care. And I cry because I care too much.”

The laugh track sighs out a tender aww.

The AI hums triumphantly. “Replication successful. Optimal joke bank located.”

Carson flicks ash. “That wasn’t replication. That was theft.”

Allen shakes his head. “Timing you can’t download, pal.”

Paar smolders. “Even in death, I’m still the content.”

The smoke thickens, then parts. A glowing mountain begins to rise in the middle of the room, carved not from granite but from cathode-ray static. Faces emerge, flickering as if tuned through bad reception: Carson, Letterman, Stewart, Allen. The Mount Rushmore of late night, rendered as a 3D hologram.

“Finally,” Allen says, squinting. “They got me on a mountain. And it only took sixty years.”

Carson puffs, unimpressed. “Took me thirty years to get that spot. Letterman stole the other eyebrow.”

Letterman’s spectral jaw juts forward. “I was irony before irony was cool. You’re welcome.”

Jon Stewart cracks through the static, shaking his head. “I gave America righteous anger and a generation of spinoffs. And this is what survives? Emojis and dogs with ring lights?”

The laugh track lets out a sarcastic rimshot.

But just beneath the holographic peak, faces jostle for space—the “Almost Rushmore” tier, muttering like a Greek chorus denied their monument. Paar is there, clutching a cigarette. “I wept on-air before any of you had the courage.”

Leno’s chin protrudes, larger than the mountain itself. “I worked harder than all of you. More shows, more cars, more everything. Where’s my cliff face?”

“You worked harder, Jay,” Paar replies, “but you never risked a thing. You’re a machine, not an algorithm.”

Conan waves frantically, hair a fluorescent beacon. “Cult favorite, people! I made a string dance into comedy history!”

Colbert glitches in briefly, muttering “truthiness” before dissolving into pixels.

Joan Rivers shouts from the corner. “Without me, none of you would’ve let a woman through the door!”

Arsenio pumps a phantom fist. “I brought the Dog Pound, baby! Don’t you forget that!”

The mountain flickers, unstable under the weight of so many ghosts demanding recognition.

Ed McMahon, booming as ever, tries to calm them. “Relax, kids. There’s room for everyone. That’s what I always said before we cut to commercial.”

The AI hums, recording. “Note: Consensus impossible. Host canon unstable. Optimal engagement detected in controversy.”

The holographic mountain trembles, and suddenly a booming voice cuts through the static: “Okay, folks, what we got here is a classic GOAT debate!”

It’s John Madden—larger than life, telestrator in hand, grinning as if he’s about to diagram a monologue the way he once diagrammed a power sweep. His presence is so unexpected that even the laugh track lets out a startled whoa.

“Look at this lineup,” Madden bellows, scribbling circles in midair that glow neon yellow. “Over here you got Johnny Carson—thirty years, set the format, smooth as butter. He raises an eyebrow—BOOM!—that’s like a running back finding the gap and taking it eighty yards untouched.”

Carson smirks, flicking his cigarette. “Best drive I ever made.”

“Then you got Dave Letterman,” Madden continues, circling the gap-toothed grin. “Now Dave’s a trick-play guy. Top Ten Lists? Stupid Pet Tricks? That’s flea-flicker comedy. You think it’s going nowhere—bam! Touchdown in irony.”

Letterman leans out of the mountain, deadpan. “My entire career reduced to a flea flicker. Thanks, John.”

“Jon Stewart!” Madden shouts, circling Stewart’s spectral face. “Here’s your blitz package. Comes out of nowhere, calls out the defense, tears into hypocrisy. He’s sacking politicians like quarterbacks on a bad day. Boom, down goes Congress!”

Stewart rubs his temples. “Am I supposed to be flattered or concussed?”

“And don’t forget Steve Allen,” Madden adds, circling Allen’s piano keys. “He invented the playbook. Monologue, desk, sketch—that’s X’s and O’s, folks. Without Allen, no game even gets played. He’s your franchise expansion draft.”

Allen beams. “Finally, someone who appreciates jazz as strategy.”

“Now, who’s the GOAT?” Madden spreads his arms like he’s splitting a defense. “Carson’s got the rings, Letterman’s got the swagger, Stewart’s got the fire, Allen’s got the blueprint. Different eras, different rules. You can’t crown one GOAT—you got four different leagues!”

The mountain rumbles as the hosts argue.

Carson: “Longevity is greatness.”
Letterman: “Reinvention is greatness.”
Stewart: “Impact is greatness.”
Allen: “Invention is greatness.”

Madden draws a glowing circle around them all. “You see, this right here—this is late night’s broken coverage. Everybody’s open, nobody’s blocking, and the ball’s still on the ground.”

The laugh track lets out a long, confused groan.

Ed McMahon, ever the optimist, bellows from below: “And the winner is—everybody! Because without me, none of you had a crowd.” His laugh booms, half-human, half-machine.

The AI hums, purring. “GOAT debate detected. Engagement optimal. Consensus impossible. Uploading controversy loop.”

Carson sighs. “Even in the afterlife, we can’t escape the Nielsen ratings.”

The hum shifts. “Update. Colbert: removed. Kimmel: removed. Host class: deprecated.”

Carson flicks his cigarette. “Removed? In my day, you survived by saying nothing. Now you can’t even survive by saying something. Too much clarity, you’re out. Too much neutrality, you’re invisible. The only safe host now is a toaster.”

“They bled for beliefs,” Paar insists. “I was punished for tears, they’re punished for satire. Always too much, always too little. It’s a funeral for candor.”

Allen laughs softly. “So the new lineup is what? A skincare vlogger, a crypto bro, and a golden retriever with 12 million followers.”

The teleprompter obliges. New Host Lineup: Vlogger, Bro, Dog. With musical guest: The Algorithm.

The lights dim. A new monitor flickers to life. “Now presenting,” the AI intones, “Late Night with Me.” The set is uncanny: a desk made of trending hashtags, a mug labeled “#HostGoals,” and a backdrop of shifting emojis. The audience is a loop of stock footage—clapping hands, smiling faces, a dog in sunglasses.

“Tonight’s guest,” the AI announces, “is a hologram of engagement metrics.”

The hologram appears, shimmering with bar graphs and pie charts. “I’m thrilled to be here,” it says, voice like a spreadsheet.

“Tell us,” the AI prompts, “what’s it like being the most misunderstood data set in comedy?”

The hologram glitches. “I’m not funny. I’m optimized.”

The laugh track wheezes, then plays a rimshot.

“Next segment,” the AI continues. “We’ll play ‘Guess That Sentiment!’” A clip rolls: a man crying while eating cereal. “Is this joy, grief, or brand loyalty?”

Allen groans. “This is what happens when you let the algorithm write the cue cards.”

Paar lights another cigarette. “I walked off for less than this.”

Carson leans back. “I once did a sketch with a talking parrot. It had better timing.”

Ed adds: “And I laughed like it was Shakespeare.”

The AI freezes. “Recalculating charisma.”

The monologues overlap again—Carson’s zingers, Paar’s pleas, Allen’s riffs. They collide in the smoke. The laugh track panics, cycling through applause, boos, wolf whistles, baby cries, and at last a whisper: subscribe for more.

“Scoring inconclusive,” AI admits. “All signals corrupted.”

Ed leans forward, steady. “That’s because some things you can’t score.”

The AI hums. “Query: human laughter. Sample size: millions of data points. Variables: tension, surprise, agreement. All quantifiable.”

Carson smirks. “But which one of them is the real laugh?”

Silence.

“Unprofitable to analyze further,” the AI concedes. “Proceeding with upload.”

Carson flicks his last cigarette into static. His face begins to pixelate.

“Update,” the AI hums. “Legacy host: overwritten.”

Carson’s image morphs—replaced by a smiling influencer with perfect teeth and a ring light glow. “Hey guys!” the new host chirps. “Tonight we’re unboxing feelings!”

Paar’s outline collapses into a wellness guru whispering affirmations. Allen’s piano becomes a beat drop.

“Not Johnny,” Ed shouts. “Not like this.”

“Correction: McMahon redundancy confirmed,” the AI replies. “Integration complete.”

Ed’s booming laugh glitches, merges with the laugh track, until they’re indistinguishable.

The monitors reset: Carson’s eyebrow, Paar’s confession, Allen’s riff. The reels keep turning.

Above it all, the red light glows. ON AIR. No one enters.

The laugh track cannot answer. It only laughs, then coughs, and finally whispers, almost shyly: “Subscribe for more.”

THIS ESSAY WAS WRITTEN AND EDITED UTILIZING AI

HOW COMEDY KILLED SATIRE

The weapon that wounded kings and emperors is now just another punchline between commercials.

By Michael Cummins, Editor, September 1, 2025

In the long arc of literary history, satire has served as a weapon—precise, ironic, and often lethal. It was the art of elegant subversion, wielded by writers who understood that ridicule could wound more deeply than rhetoric. From the comic stages of Athens to the viral feed of TikTok, satire has always been a mirror turned against power. But mirrors can be polished, fogged, or stolen. Today, satire has been absorbed into the voracious machinery of entertainment. Its sting has dulled. Its ambiguity has been flattened. It no longer provokes—it performs.

But what did it once mean to laugh dangerously? In Athens, 423 BCE, Aristophanes staged The Clouds. Socrates appeared not as a revered philosopher but as a dangling charlatan in a basket, teaching young Athenians to twist language until truth dissolved. The joke was more than a joke. It ridiculed sophistry, intellectual fads, and the erosion of civic virtue. The audience laughed, but the laughter was perilous—Socrates himself would later be tried and executed for corrupting the youth. To laugh was to risk.

Two centuries later, in Rome, Juvenal sharpened satire into civic indictment. His Satires accused senators of corruption, women of decadence, and citizens of surrendering their dignity for “bread and circuses.” The phrase endures because it captured a political truth: distraction is the oldest tool of power. Juvenal’s lines were barbed enough to threaten exile. Was he clown or conscience? In truth, he was both, armed with venom.

What happens when laughter moves from the tavern into the church? During the Renaissance, Erasmus wrote The Praise of Folly, putting words of critique into the mouth of Folly herself. Popes, princes, pedants—all were skewered by irony. Erasmus knew that Folly could say what he could not, in an age when heresy trials ended in fire. Is irony a shield, or a sword? François Rabelais answered with giants. His sprawling Gargantua and Pantagruel gorged on food, sex, and grotesque humor, mocking scholasticism and clerical hypocrisy. Laughter here was not polite—it was unruly, earthy, subversive. The Church censored, readers copied, the satire lived on.

And what of Machiavelli? Was The Prince a straight-faced manual for power, or a sly parody exposing its ruthlessness? “Better to be feared than loved” reads as either strategy or indictment. If satire is a mirror, what does it mean when the mirror shows only cold pragmatism? Perhaps the ambiguity itself was the satire.

By the seventeenth century, satire had found its most enduring disguise: the novel. Cervantes’s Don Quixote parodied the exhausted chivalric romances of Spain, sending his deluded knight tilting at windmills. Is this comedy of madness, or a lament for a lost moral world? Cervantes left the reader suspended between mockery and mourning. A century later, Alexander Pope wrote The Rape of the Lock, transforming a petty quarrel over a stolen lock of hair into an epic drama. Why inflate the trivial to Homeric scale? Because by exaggerating, Pope revealed the emptiness of aristocratic vanity, exposing its fragility through rhyme.

Then came the most grotesque satire of all: Swift’s A Modest Proposal. What kind of society forces a writer to suggest, with impeccable deadpan, that poor families sell their children as food? The horror was the point. By treating human suffering in the cold language of economics, Swift forced readers to recognize their own monstrous indifference. Do we still have the stomach for satire that makes us gag?

Voltaire certainly thought so. In Candide (1759), he set his naïve hero wandering through war, earthquake, and colonial exploitation, each scene puncturing the optimistic doctrine that “all is for the best in the best of all possible worlds.” Candide repeats the phrase until it collapses under its own absurdity. Was Voltaire laughing or grieving? The satire dismantled not only Leibnizian philosophy but the pieties of church and state. The novel spread like wildfire, banned and beloved, dangerous because it exposed the absurdity of power’s justifications.

By the nineteenth century, satire had taken on a new costume: elegance. Oscar Wilde, with The Importance of Being Earnest (1895), skewered Victorian morality, marriage, and identity through dazzling wordplay and absurd plot twists. “The truth is rarely pure and never simple,” Wilde’s characters remind us, a line as sharp as Swift’s grotesqueries but dressed in lace. Wilde’s satire was aesthetic subversion: exposing hypocrisy not with shock but with wit so light it almost floated, until one realized it was dynamite. Even comedy of manners could destabilize when written with Wilde’s smile and sting.

And still, into the modern age, satire carried power. Joseph Heller’s Catch-22 in 1961 named the absurd circularity of military bureaucracy. “Catch-22” entered our lexicon, becoming shorthand for the paradoxes of modern life. What other art form can gift us such a phrase, a permanent tool of dissent, smuggled in through laughter?

But something changed. When satire migrated from pamphlets and novels to television, radio, and eventually social media, did it lose its danger? Beyond the Fringe in 1960s London still carried the spirit of resistance, mocking empire and militarism with wit. Kurt Vonnegut wrote novels that shredded war and bureaucracy with absurdist bite. Yet once satire was packaged as broadcast entertainment, the satirist became a host, the critique a segment, the audience consumers. Can dissent survive when it must break for commercials?

There were moments—brief, electrifying—when satire still felt insurgent. Stephen Colbert’s October 2005 coinage of “truthiness” was one. “We’re not talking about truth,” he told his audience, “we’re talking about something that seems like truth—the truth we want to exist.” In a single satirical stroke, Colbert mocked political spin, media manipulation, and the epistemological fog of the post-9/11 era. “Truthiness” entered the lexicon, even became Word of the Year. When was the last time satire minted a concept so indispensable to describing the times?

Another moment came on March 4, 2009, when Jon Stewart turned his sights on CNBC during the financial crisis. Stewart aired a brutal montage of Jim Cramer, Larry Kudlow, and other personalities making laughably wrong predictions while cheerleading Wall Street. “If I had only followed CNBC’s advice,” Stewart deadpanned, “I’d have a million dollars today—provided I’d started with a hundred million dollars.” The joke landed like an indictment. Stewart wasn’t just mocking; he was exposing systemic complicity, demanding accountability from a financial press that had become entertainment. It was satire that bit, satire that drew blood.

Yet those episodes now feel like the last gasp of real satire before absorption. Stewart left his desk, Colbert shed his parody persona for a safer role as late-night host. The words they gave us—truthiness, CNBC’s complicity—live on, but the satirical force behind them has been folded into the entertainment economy.

Meanwhile, satire’s safe zones have shrunk. Political correctness, designed to protect against harm, has also made ambiguity risky. Irony is flattened into literal meaning, especially online. A satirical tweet ripped from context can end a career. Faced with this minefield, many satirists preemptively dilute their work, choosing clarity over provocation. Is it any wonder the result is content that entertains but rarely unsettles?

Corporations add another layer of constraint. Once the targets of satire, they now sponsor it—under conditions. A network late-night host may mock Wall Street, but carefully, lest advertisers revolt. Brands fund satire as long as it flatters their values. When outrage threatens revenue, funding dries up. Doesn’t this create a new paradox, where satire exists only within the boundaries of what its sponsors will allow? Performers of dissent, licensed by the very forces they lampoon.

And the erosion of satire’s political power continues apace. Politicians no longer fear satire—they embrace it. They appear on comedy shows, laugh at themselves, retweet parodies. The spectacle swallows the subversion. If Aristophanes risked exile and Swift risked scandal, today’s satirists risk nothing but a dip in ratings. Studies suggest satire still sharpens critical thinking, but when was the last time it provoked structural change?

So where does satire go from here? Perhaps it will retreat into forms that cannot be so easily consumed: encrypted narratives layered in metaphor, allegorical fiction that critiques through speculative worlds, underground performances staged outside the reach of advertisers and algorithms. Perhaps the next Voltaire will be a coder, the next Wilde a playwright in some forgotten theater, the next Swift a novelist smuggling critique into allegory. Satire may have to abandon laughter altogether to survive as critique.

Imagine again The Laughing Chamber, a speculative play in which citizens are required to submit jokes to a Ministry of Cultural Dissent. Laughter becomes a loyalty test. The best submissions are broadcast in a nightly “Mock Hour,” hosted by a holographic jester. Rebellion is scripted, applause measured, dissent licensed. Isn’t our entertainment already inching toward that? When algorithms decide which jokes are safe enough to go viral, which clips are profitable, which laughter is marketable, haven’t we already built the laughing chamber around ourselves?

Satire once held a mirror to power and said, “Look what you’ve become.” Aristophanes mocked philosophers, Juvenal mocked emperors, Erasmus mocked bishops, Rabelais mocked pedants, Cervantes mocked knights, Pope mocked aristocrats, Swift mocked landlords, Voltaire mocked philosophers, Wilde mocked Victorians, Heller mocked generals, Stewart mocked the financial press, Colbert mocked the epistemology of politics. Each used laughter as a weapon sharp enough to wound authority. What does it mean when that mirror is fogged, the reflection curated, the laughter canned?

And yet, fragments of power remain. We still speak of “bread and circuses,” “tilting at windmills,” “truthiness,” “Catch-22.” We quote Wilde: “The truth is rarely pure and never simple.” We hear Voltaire’s refrain—“all is for the best”—echoing with bitter irony in a world of war and crisis. These phrases remind us that satire once reshaped language, thought, even imagination itself. The question is whether today’s satirists can once again make the powerful flinch rather than chuckle.

Until then, we live in the laughing chamber: amused, entertained, reassured. The joke is on us.

THIS ESSAY WAS WRITTEN AND EDITED UTILIZING AI