Physics Comedy Quotes

Every person is a puzzle with a password. By solving the puzzle, the potential for emotional and physical intimacy is realized.

entanglement: (n.) quantum physics term for when the sheets wrap around two bodies in space.

Every citizen is free to perform any act which does not hamper the equal freedom of another. No law shall forbid the performance of any act, which does not damage the physical or economic welfare of any other person.

The male tax?” “Yeah. The tax that men have to pay for not having to menstruate every month. Or risk getting pregnant. Or deal with the physically stronger sex in a macho world… Women have to put up with all that stuff, so the least we men can do is pay the male tax and get the tab.

No one partner in life can supply all the possible richnesses of living to another. I speak now not only of physical sexual associations, but also of associations mental and spiritual,

No one was irritable; we have never known anyone to remain unhappy while digesting a good meal. We enjoy lingering in a becalmed state, a kind of midpoint between the reverie of a thinker and the contentment of a cud-chewing animal, a state that should be termed the physical melancholy of gastronomy.

The sad truth of it was that he was too weak to move out. Not physically, but in every other way under the sun. If he left, he would miss the pancakes. He’d miss the syrup. Three times a day, she pricked him with a needle to make sure he was burning it all off and not going diabetic again; if he moved away, he’d miss that too. A little bloodshed was a negligible price to pay for the brief but electrifying thrill of having her touch him. Honestly, the ritual stabbings were fast becoming his favorite part of the day.

If I was going to be a woman, I would want to be as beautiful as possible. And they said to me, ‘Uh, that’s as beautiful as we can get you.’ And I went home and started crying to my wife, and I said, ‘I have to make this picture.’ And she said, ‘Why?’ And I said, ‘Because I think I’m an interesting woman when I look at myself on screen, and I know that if I met myself at a party, I would never talk to that character because she doesn’t fulfill, physically, the demands that we’re brought up to think that women have to have in order for us to ask them out.’ She says, ‘What are you saying?’ and I said, ‘There’s too many interesting women I have not had the experience to know in this life because I have been brainwashed.’ It was not what it felt like to be a woman. It was what it felt like to be someone that people didn’t respect, for the wrong reasons. I know it’s a comedy. But comedy’s a serious business.

Had a long talk with Mr Vann the Careers teacher today. He said that if I want to be a vet I will have to do Physics, Chemistry and Biology for O level. He said that Art, Woodwork and Domestic Science won’t do much good. I am at the Crossroads in my life. The wrong decision now could result in a tragic loss to the veterinary world. I am hopeless at science. I asked Mr Vann which O levels you need to write situation comedy for television. Mr Vann said that you don’t need qualifications at all, you just need to be a moron.

Naturally torturers giggle while they work: The body’s dumb obedience to physics (pull hard enough and this comes off, squeeze tight enough and that pops out) against which the nuances of the victim’s personality count for nothing has in it one of the roots of comedy—the spirit’s subservience to the flesh. You can cut a head off and shove it in a bag, stick it on a pole, play volleyball or footie with it. Hilarious, among other things.

I do not pretend, of course, that I have never done it; mere politeness forces one to it; there are women who sulk and grow bellicose unless one at least makes the motions of kissing them. But what I mean is that I have never found the act a tenth part as agreeable as poets, the authors of musical comedy librettos, and (on the contrary side) chaperones and the gendarmerie make it out. The physical sensation, far from being pleasant, is intensely uncomfortable—the suspension of respiration, indeed, quickly resolves itself into a feeling of suffocation—and the posture necessitated by the approximation of lips and lips is unfailingly a constrained and ungraceful one. Theoretically, a man kisses a woman perpendicularly, with their eyes, those "windows of the soul," synchronizing exactly. But actually, on account of the incompressibility of the nasal cartilages, he has to incline either his or her head to an angle of at least 60 degrees, and the result is that his right eye gazes insanely at the space between her eyebrows, while his left eye is fixed upon some vague spot behind her. An instantaneous photograph of such a maneuvre, taken at the moment of incidence, would probably turn the stomach of even the most romantic man, and force him, in sheer self-respect, to renounce kissing as he has renounced leap-frog and walking on stilts.

As our physical muscles grow weaker, our emotional muscles grow stronger, and we’re better at seeing the comedy in the tragedy, the advance in the setback, the good in the bad.

love was a natural physical force—one that arises spontaneously, is nearly impossible to resist, and must simply be accepted and allowed to flow.

Even when we cannot see parts of the moon, they are still physically there. During a new moon, when it is completely lit from behind, it appears only as a black, starless circle in the sky. For while we sometimes cannot see the moon, it is still there as a silhouette. Which is why I get upset when a crescent moon is shown with stars visible through the middle of it!

Gravity? It’s not physics. It’s conditional. You believe in yourself, you stay upright. Start second-guessing, and you’re surprisingly buoyant while a gremlin critiques your life choices.

Did the Ancient Greeks ever write anything funny—like slapstick? I mean, I think I speak for everyone when I say that there’s nothing wrong with a little bit of well-written physical comedy.

Norma: “...We’ll kill Silena?” Smar: “...She’s in superposition anyway.” Angie: “And in supoorposition.” Norma: “I’m not following.” Smar: “Me, Quantum Mechanics.” Angie: “Me, Dumbum Mechanics.

In the purifying sweep of atheism human beings lost all special value. The numb misery of the horse was matched by that of the farmer; the once-green ferny lives crushed into coal's fossiliferous strata were no more anonymous and obliterated than Clarence's own life would soon be, in a wink of earth's tremendous time. Without Biblical blessing the physical universe became sherry horrible and disgusting. All fleshy acts became vile, rather than merely some. The reality of men slaying lambs and cattle, fish and fowl to sustain their own bodies took on an aspect of grisly comedy--the blood-soaked selfishness of a cosmic mayhem.

Excepting machinery, there is hardly anything secular in our culture that does not come from Greece. Schools, gymnasiums, arithmetic, geometry, history, rhetoric, physics, biology, anatomy, hygiene, therapy, cosmetics, poetry, music, tragedy, comedy, philosophy, theology, agnosticism, skepticism, stoicism, epicureanism, ethics, politics, idealism, philanthropy, cynicism, tyranny, plutocracy, democracy: these are all Greek words

For now, the Simple Daily Practice means doing ONE thing every day. Try any one of these things each day: A) Sleep eight hours. B) Eat two meals instead of three. C) No TV. D) No junk food. E) No complaining for one whole day. F) No gossip. G) Return an e-mail from five years ago. H) Express thanks to a friend. I) Watch a funny movie or a stand-up comic. J) Write down a list of ideas. The ideas can be about anything. K) Read a spiritual text. Any one that is inspirational to you. The Bible, The Tao te Ching, anything you want. L) Say to yourself when you wake up, “I’m going to save a life today.” Keep an eye out for that life you can save. M) Take up a hobby. Don’t say you don’t have time. Learn the piano. Take chess lessons. Do stand-up comedy. Write a novel. Do something that takes you out of your current rhythm. N) Write down your entire schedule. The schedule you do every day. Cross out one item and don’t do that anymore. O) Surprise someone. P) Think of ten people you are grateful for. Q) Forgive someone. You don’t have to tell them. Just write it down on a piece of paper and burn the paper. It turns out this has the same effect in terms of releasing oxytocin in the brain as actually forgiving them in person. R) Take the stairs instead of the elevator. S) I’m going to steal this next one from the 1970s pop psychology book Don’t Say Yes When You Want to Say No: when you find yourself thinking of that special someone who is causing you grief, think very quietly, “No.” If you think of him and (or?) her again, think loudly, “No!” Again? Whisper, “No!” Again, say it. Louder. Yell it. Louder. And so on. T) Tell someone every day that you love them. U) Don’t have sex with someone you don’t love. V) Shower. Scrub. Clean the toxins off your body. W) Read a chapter in a biography about someone who is an inspiration to you. X) Make plans to spend time with a friend. Y) If you think, “Everything would be better off if I were dead,” then think, “That’s really cool. Now I can do anything I want and I can postpone this thought for a while, maybe even a few months.” Because what does it matter now? The planet might not even be around in a few months. Who knows what could happen with all these solar flares. You know the ones I’m talking about. Z) Deep breathing. When the vagus nerve is inflamed, your breathing becomes shallower. Your breath becomes quick. It’s fight-or-flight time! You are panicking. Stop it! Breathe deep. Let me tell you something: most people think “yoga” is all those exercises where people are standing upside down and doing weird things. In the Yoga Sutras, written in 300 B.C., there are 196 lines divided into four chapters. In all those lines, ONLY THREE OF THEM refer to physical exercise. It basically reads, “Be able to sit up straight.” That’s it. That’s the only reference in the Yoga Sutras to physical exercise. Claudia always tells me that yogis measure their lives in breaths, not years. Deep breathing is what keeps those breaths going.

Mindful of this hesitation, Desiree persisted in her physical seduction by pulling her shoulders back—thereby extending her breasts, tilting her head, raising her right eyebrow, and smiling. She blew him a kiss. Who could resist that?

A double-time march in low gravity was probably more suited to a bad physical comedy show than a military formation, but as long as they kept upright and moving, Ramirez was more than willing to overlook his Marines bouncing off each other and the walls.

through the screen door I find all three of my boys throwing a ball around the yard with Cooper. My heart bursts in my chest. Just explodes. It physically hurts to feel so much all at once. It’s like I’m staring at a movie of what my life—our life—could have been.

We all say that this is the century of the common man, that he is the lord of the earth, the air and the water, and that on his decision hangs the historical fate of the nations. This proud picture of human grandeur is unfortunately an illusion only and is counterbalanced by a reality which is very different. In this reality man is the slave and victim of the machines that have conquered space and time for him; he is intimidated and endangered by the might of the war technique which is supposed to safeguard his physical existence; his spiritual and moral freedom, though guaranteed within limits in one half of his world, is threatened with chaotic disorientation, and in the other half it is abolished altogether. Finally, to add comedy to tragedy, this lord of the elements, this universal arbiter, hugs to his bosom notions which stamp his dignity as worthless and turn his autonomy into an absurdity. All his achievements and possessions do not make him bigger; on the contrary, they diminish him, as the fate of the factory worker under the rule of a ‘just’ distribution of goods clearly demonstrates.

it’s that particular connection between melancholy and humor that Klibansky, Panofsky, and Saxl examined in Saturn and Melancholy (1964). Just as melancholy is sadness made light, so humor is comedy that has lost its physical weight (that dimension of human carnality that, however, makes Boccaccio and Rabelais great) and casts doubts on the self, the world, and the entire network of relations they form.

Schools, gymnasiums, arithmetic, geometry, history, rhetoric, physics, biology, anatomy, hygiene, therapy, cosmetics, poetry, music, tragedy, comedy, philosophy, theology, agnosticism, skepticism, stoicism, epicureanism, ethics, politics, idealism, philanthropy, cynicism, tyranny, plutocracy, democracy: these are all Greek words for cultural forms seldom originated, but in many cases first matured for good or evil by the abounding energy of the Greeks. All the problems that disturb us today—the cutting down of forests and the erosion of the soil; the emancipation of woman and the limitation of the family; the conservatism of the established, and the experimentalism of the unplaced, in morals, music, and government; the corruptions of politics and the perversions of conduct; the conflict of religion and science, and the weakening of the supernatural supports of morality; the war of the classes, the nations, and the continents; the revolutions of the poor against the economically powerful rich, and of the rich against the politically powerful poor; the struggle between democracy and dictatorship, between individualism and communism, between the East and the West—all these agitated, as if for our instruction, the brilliant and turbulent life of ancient Hellas. There is nothing in Greek civilization that does not illuminate our own. We shall try to see the life of Greece both in the mutual interplay of its cultural elements, and in the immense five-act drama of its rise and fall. We shall begin with Crete and its lately resurrected civilization, because apparently from Crete, as well as from Asia, came that prehistoric culture of Mycenae

It is a Call to Life – a full, authentic life. It is a Call to rise from the half-sleep of our existence, and take up our part in the great unfolding of the world. To become a Voice of the Wells. We must answer the Call, or forever be lost in the Wasteland. For many women, that Call occurs at midlife. Dante expressed it perfectly, in the opening lines of The Divine Comedy: ‘Midway upon the journey of my life I found myself in a dark wood, where the right way was lost.’ Most women experience major change in these middle years: physical change or professional; social or psychological; changes in our family and our relationships. Our children leave home. We are overtaken by disillusionment and dissatisfaction. We find ourselves unhappy in our jobs, in our marriages. We develop physical illnesses, anxiety or depression. Rage and grief threaten to overwhelm us. We begin to contemplate our own mortality. We question who we are, who we might have been, who we might yet become. We question our spiritual values and our material values. We begin to wonder what we are doing with our lives, what meaning we might find. We open our eyes a little wider, and take in the world beyond ourselves. For the first time, we see the Wasteland for what it is.

Throughout the years, Parsons was always asked if he learned anything about physics, or if he felt smarter as a result of playing Sheldon. Jim Parsons: I’ve always had a respect for science and a fascination with certain aspects of it, but I didn’t learn a goddamn thing, I’ll tell you that. Nothing stuck. [Laughs] [Professor] David [Saltzberg] definitely made it easier. He was really helpful in that he was able to usually tell me, “Here’s all you need to know.” For instance, “You’re going to point at this when you say that; you’re going to point at that when you say this.” He was the perfect combination of being scientifically brilliant and being able to talk to a science dodo bird like me. He understood the kind of paint-by-numbers aspect that was necessary for the acting to get to the comedy.

5236 rue St. Urbain The baby girl was a quick learner, having synthesized a full range of traits of both of her parents, the charming and the devious. Of all the toddlers in the neighbourhood, she was the first to learn to read and also the first to tear out the pages. Within months she mastered the grilling of the steaks and soon thereafter presented reasons to not grill the steaks. She was the first to promote a new visceral style of physical comedy as a means of reinvigorate the social potential of satire, and the first to declare the movement over. She appreciated the qualities of movement and speed, but also understood the necessity of slowness and leisure. She quickly learned the importance of ladders. She invented games with numerous chess-boards, matches and glasses of unfinished wine. Her parents, being both responsible and duplicitous people, came up with a plan to protect themselves, their apartment and belongings, while also providing an environment to encourage the open development of their daughter's obvious talents. They scheduled time off work, put on their pajamas and let the routines of the apartment go. They put their most cherished books right at her eye-level and gave her a chrome lighter. They blended the contents of the fridge and poured it into bowls they left on the floor. They took to napping in the living room, waking only to wipe their noses on the picture books and look blankly at the costumed characters on the TV shows. They made a fuss for their daughter's attention and cried when she wandered off; they bit or punched each other when she out of the room, and accused the other when she came in, looking frustrated. They made a mess of their pants when she drank too much, and let her figure out the fire extinguisher when their cigarettes set the blankets smoldering. They made her laugh with cute songs and then put clothes pins on the cat's tail. Eventually things found their rhythm. More than once the three of them found their faces waxened with tears, unable to decide if they had been crying, laughing, or if it had all been a reflex, like drooling. They took turns in the bath. Parents and children--it is odd when you trigger instinctive behaviour in either of them--like survival, like nurture. It's alright to test their capabilities, but they can hurt themselves if they go too far. It can be helpful to imagine them all gorging on their favourite food until their bellies ache. Fall came and the family went to school together.

The Bostonians is special because it never was ‘titivated’ for the New York edition, for its humour and its physicality, for its direct engagement with social and political issues and the way it dramatized them, and finally for the extent to which its setting and action involved the author and his sense of himself. But the passage above suggests one other source of its unique quality. It has been called a comedy and a satire – which it is. But it is also a tragedy, and a moving one at that. If its freshness, humour, physicality and political relevance all combine to make it a peculiarly accessible and enjoyable novel, it is also an upsetting and disturbing one, not simply in its treatment of Olive, but also of what she tries to stand for. (Miss Birdseye is an important figure in this respect: built up and knocked down as she is almost by fits and starts.) The book’s jaundiced view of what Verena calls ‘the Heart of humanity’ (chapter 28) – reform, progress and the liberal collectivism which seems so essential an ingredient in modern democracy – makes it contentious to this day. An aura of scepticism about the entire political process hangs about it: salutary some may say; destructive according to others. And so, more than any other novel of James’s, it reminds us of the literature of our own time. The Bostonians is one of the most brilliant novels in the English language, as F. R. Leavis remarked;27 but it is also one of the bleakest. In no other novel did James reveal more of himself, his society and his era, and of the human condition, caught as it is between the blind necessity of progress and the urge to retain the old. It is a remarkably experimental modern novel, written by a man of conservative values. It is judgemental about people with whom its author identified, and lenient towards attitudes hostile to large areas of James’s own intellectual and personal inheritance. The strength of the contradictions embodied in the novel are a guarantee of the pleasure it has to give.

It is the business of mythology proper, and of the fairy tale, to reveal the specific dangers and techniques of the dark interior way from tragedy to comedy. Hence the incidents are fantastic and “unreal”: they represent psychological, not physical, triumphs. Even when the legend is of an actual historical personage, the deeds of victory are rendered, not in lifelike, but in dreamlike figurations; for the point is not that such-and-such could be done on earth; the point is that, before such-and-such could be done on earth, this other, more important, primary thing had to be brought to pass within the labyrinth that we all know and visit in our dreams. The passage of the mythological hero may be overground, incidentally; fundamentally it is inward–into depths where obscure resistances are overcome, and long lost, forgotten powers revivified, to be made available for the transfiguration of the world. This deed accomplished, life no longer suffers hopelessly under the terrible mutilations of ubiquitous disaster, battered by time, hideous throughout space; but with its horror visible still, its cries of anguish still tumultuous, it becomes penetrated by an all-suffusing, all-sustaining love, and a knowledge of its own unconquered power. Something of the light that blazes invisible within the abysses of its normally opaque materiality breaks forth with an increasing uproar. The dreadful mutilations are then seen as shadows, only, of an immanent, imperishable eternity…:)

Try any one of these things each day: A) Sleep eight hours. B) Eat two meals instead of three. C) No TV. D) No junk food. E) No complaining for one whole day. F) No gossip. G) Return an e-mail from five years ago. H) Express thanks to a friend. I) Watch a funny movie or a stand-up comic. J) Write down a list of ideas. The ideas can be about anything. K) Read a spiritual text. Any one that is inspirational to you. The Bible, The Tao te Ching, anything you want. L) Say to yourself when you wake up, “I’m going to save a life today.” Keep an eye out for that life you can save. M) Take up a hobby. Don’t say you don’t have time. Learn the piano. Take chess lessons. Do stand-up comedy. Write a novel. Do something that takes you out of your current rhythm. N) Write down your entire schedule. The schedule you do every day. Cross out one item and don’t do that anymore. O) Surprise someone. P) Think of ten people you are grateful for. Q) Forgive someone. You don’t have to tell them. Just write it down on a piece of paper and burn the paper. It turns out this has the same effect in terms of releasing oxytocin in the brain as actually forgiving them in person. R) Take the stairs instead of the elevator. S) I’m going to steal this next one from the 1970s pop psychology book Don’t Say Yes When You Want to Say No: when you find yourself thinking of that special someone who is causing you grief, think very quietly, “No.” If you think of him and (or?) her again, think loudly, “No!” Again? Whisper, “No!” Again, say it. Louder. Yell it. Louder. And so on. T) Tell someone every day that you love them. U) Don’t have sex with someone you don’t love. V) Shower. Scrub. Clean the toxins off your body. W) Read a chapter in a biography about someone who is an inspiration to you. X) Make plans to spend time with a friend. Y) If you think, “Everything would be better off if I were dead,” then think, “That’s really cool. Now I can do anything I want and I can postpone this thought for a while, maybe even a few months.” Because what does it matter now? The planet might not even be around in a few months. Who knows what could happen with all these solar flares. You know the ones I’m talking about. Z) Deep breathing. When the vagus nerve is inflamed, your breathing becomes shallower. Your breath becomes quick. It’s fight-or-flight time! You are panicking. Stop it! Breathe deep. Let me tell you something: most people think “yoga” is all those exercises where people are standing upside down and doing weird things. In the Yoga Sutras, written in 300 B.C., there are 196 lines divided into four chapters. In all those lines, ONLY THREE OF THEM refer to physical exercise. It basically reads, “Be able to sit up straight.” That’s it. That’s the only reference in the Yoga Sutras to physical exercise. Claudia always tells me that yogis measure their lives in breaths, not years. Deep breathing is what keeps those breaths going.

Everything has a beginning, you know. Love has to start somewhere. And sometimes, it starts with the physical.

It seems the laws of finance are much more flexible than the laws of physics.

THE 7 FORMULAS OF HUMOR: 1. POW's -- plays on words 2. Reverses (quick switch in audience point of view) 3. Triples (build to exaggerated finale) 4. Incongruity (pairing two logical but unconventional ideas) 5. Stupidity (so audience feels superior) 6. Paired phrases (using antonyms, homonyms, synonyms) 7. Physical abuse (slapstick)

Ariel did that magic trick where she twisted her hair into the towel and plopped it securely on her head. I think all women are born with the innate knowledge on how to do that but it still doesn’t make sense to me according to the laws of physics.

comedy felt like a friend. That’s its greatest magic—more than any other art form, it forces you to interact with it; it forces you to feel not alone. Because you can’t be alone when someone’s making you laugh, physically reaching into your body and eliciting a response. Comedy is also smart. It speaks the truth. It was everything I wanted to be. Plus, if you’re funny, it doesn’t matter what you look like.

All hell breaks loose because they are doing what the Marx Brothers do, jamming a hundred people into a ship’s tiny stateroom. They are crazy and anarchic, but they still have charm and warmth. They married intellectuality and a brushstroke of wit with their great physical comedy. The Three Stooges were a brilliant combination of timing and earnestness. They are very serious. Their physical timing was impeccable. They never laugh, or break up, or seem to enjoy the violence they inflict upon one another. They left that for the audience. They showed me that comedy is a juxtaposition of textures. Later in my career I got to do a Stooges-like routine with Rudy De Luca in Life Stinks when we slap each other silly. I

There’s a charge to being around Duncan, like one of those light bulbs you touch in the science museum that make your hair stand up, and we hadn’t stopped talking—urgently—since I arrived. We bounced from topic to topic, frantically, like fast friends excited to find someone else who also wanted to talk about religion, mysticism, sex, ghosts, and drugs. We sat down next to the incense like two kids in a dorm room trying to mask illegal aromas, and Duncan hit Record. I told him I wasn’t used to things getting so deep and so interesting so quickly. “That’s what happens when you’re with cool people,” Duncan said. “You end up getting in great conversations.” I wondered in this moment if Duncan knew how unique he was. I wondered if he knew how bored and dismissive people can be when you try to talk about dreams, or out-of-body experiences, or the afterlife, or if you suggest that the physical world is only just a small piece of what’s really going on here. “The plague of the world is that so many people allow themselves to be surrounded by vampires,” Duncan said, using the classiest monster as a word to describe all the what-you-see-is-what-you-get people, the ones who are busy cockblocking the curious weirdos from tripping out on their basic wonder. “Their whole life is one shit conversation to the next to the next to the next until they’re on their deathbed, and that’s the one real conversation they have. They finally say, ‘I love you so much!’ And then they die.” This is Duncan, the opposite of a vampire. He doesn’t drain life from people, he infuses them, resuscitating their awe and bringing color back to their cheeks. The vampires, he warned, “will keep you stuck in the harbor of sorrows. They’ll try to keep your fucking anchor down.” I cackled with laughter. Duncan is one of those rare people who remind you that we’re all here, stuck in our human bodies, confused and curious since we all emerged from the interdimensional space portal commonly known as a vagina. He wants to get into it; he wants to touch, taste, scream, laugh, and sing his way toward enlightenment, and as I sat with him that day, he made me think he just might bring me along with him.

Hello and welcome to this collection of calls put together specifically to embarrass the Massachusetts Institute of Technology. Now you’ll hear us tackle the very pillars of science: physics, chemistry, fluid dynamics and, of course, cream rinse.

There is no end for a spirit. The soul is in a state of becoming; a continuous state of learning and development. It does not need the physical body to survive. It continues to exist outside the physical actuality and even outside the apparent life; experience has served this divine truth many times and I accept. When one experiences the ‘perceived death’, only to be followed by the reality of another existence, a weird sense if divine comedy sets in; realizing that the end was only the beginning. [8]

So why deny ourselves… pleasure?” he whispered. Christina’s internal temperature soared. Her fear of him and her lust for him were fighting each other in her body—and lust, wanting, desire were suddenly winning. His hot words and his magnetic presence were wrapping themselves around her like a boa and squeezing the breath out of her. She was beginning to breathe harder—and faster—and she saw his eyes rivet to her chest as he watched her breasts underneath her blouse rising and falling to the rhythm of her increased breathing rate. “I… I think… you should go,” her voice came out in a breathy whisper. His gaze quickly came up to rest on her beautifully flushed face. “Okay, if that’s what you want.” “It is,” she breathed a sigh of relief at having him finally agree. “I’ll go then, but first let me at least give you this? I bought it just for you.” He held the diamond necklace out to her again. “Please?” Christina had been prepared to tell him ‘no’, but the soft, gentle way he had said the word ‘please’ did her in. He sounded like a little boy who had spent all day at school drawing a picture for the girl he liked and then she had rejected him and his gift. Okay—so she’d let him give her the necklace and then he’d leave. What harm was there in that? Bill took a few steps forward and Christina remained rooted to the spot. Slowly, he continued to approach her—as if she were a skittish colt who would bolt if he made any sudden moves. He reached her then—and stopped a foot away. Leisurely, he lifted the necklace and unclasped its opening. His slow, deliberate movements were mesmerizing Christina. Whether it was her fatigue at being up all night or her strong physical attraction to him or her love for him she didn’t know, but she was falling under his spell. Christina let her hands drop from her blouse, causing it to fall open and revealing her lacy pink bra. She then lifted her hair up off her neck and turned her back to him. She didn’t see him bridge the last few inches between them but she felt him. She saw his powerful arms come around from behind her and felt the weight of the cold, heavy necklace as he placed it around her neck. He snapped the clasp and from behind, he lowered his lips to her ears. “You look beautiful, my little spitfire,” he whispered and his breath erotically fanned the delicate insides of her ear. Christina briefly closed her eyes as she felt an intense longing for him shoot through her body. God—she wanted him so badly—and her lack of sleep had removed all her inhibitions, excuses, defenses and rationale against making love to him. Why hadn’t she wanted to make love with him before? She

But it isn’t the fun of DIY invention, urban exploration, physical danger, and civil disorder that the Z-Boys enjoyed in 1976. It is fun within serious limits, and for all of its thrills it is (by contrast) scripted. And rather obedient. The fact that there are public skateparks and high-performance skateboards signals progress: America has embraced this sport, as it did bicycles in the nineteenth century. Towns want to make skating safe and acceptable. The economy has more opportunity to grow. America is better off for all of this. Yet such government and commercial intervention in a sport that was born of radical liberty means that the fun itself has changed; it has become mediated. For the skaters who take pride in their flashy store-bought equipment have already missed the Z-Boys’ joke: Skating is a guerrilla activity. It’s the fun of beating, not supporting, the system. P. T. Barnum said it himself: all of business is humbug. How else could business turn a profit, if it didn’t trick you with advertising? If it didn’t hook you with its product? This particular brand of humbug was perfected in the late 1960s, when merchandise was developed and marketed and sold to make Americans feel like rebels. Now, as then, customers always pay for this privilege, and purveyors keep it safe (and generally clean) to curb their liability. They can’t afford customers taking real risks. Plus it’s bad for business to encourage real rebellion. And yet, marketers know Americans love fun—they have known this for centuries. And they know that Americans, especially kids, crave autonomy and participation, so they simulate the DIY experience at franchises like the Build-A-Bear “workshops,” where kids construct teddy bears from limited options, or “DIY” restaurants, where customers pay to grill their own steaks, fry their own pancakes, make their own Bloody Marys. These pay-to-play stores and restaurants are, in a sense, more active, more “fun,” than their traditional competition: that’s their big selling point. But in both cases (as Barnum knew) the joke is still on you: the personalized bear is a standardized mishmash, the personalized food is often inedible. As Las Vegas knows, the house always wins. In the history of radical American fun, pleasure comes from resistance, risk, and participation—the same virtues celebrated in the “Port Huron Statement” and the Digger Papers, in the flapper’s slang and the Pinkster Ode. In the history of commercial amusement, most pleasures for sale are by necessity passive. They curtail creativity and they limit participation (as they do, say, in a laser-tag arena) to a narrow range of calculated surprises, often amplified by dazzling technology. To this extent, TV and computer screens, from the tiny to the colossal, have become the scourge of American fun. The ubiquity of TV screens in public spaces (even in taxicabs and elevators) shows that such viewing isn’t amusement at all but rather an aggressive, ubiquitous distraction. Although a punky insurgency of heedless satire has stung the airwaves in recent decades—from equal-opportunity offenders like The Simpsons and South Park to Comedy Central’s rabble-rousing pundits, Jon Stewart and Stephen Colbert—the prevailing “fun” of commercial amusement puts minimal demands on citizens, besides their time and money. TV’s inherent ease seems to be its appeal, but it also sends a sobering, Jumbotron-sized message about the health of the public sphere.

A couple of women are playing golf one sunny Saturday morning. The first of the twosome tees off and watches in horror as her ball heads directly toward a foursome of men playing the next hole. The ball hits one of the men and he immediately clasps his hands over his groin, falls to the ground, and rolls around in evident agony. The woman rushes down to the man and begins apologizing profusely. “Please allow me to help. I’m a physical therapist and I know I could relieve your pain if you’d allow me,” she told him earnestly. “Ummph, oooh, nnooo, I’ll be all right. I’ll be fine in a few minutes,” he replies breathlessly, as he remains doubled over in pain. The woman persists in trying to help and he finally agrees. She gently takes his hands away from his groin and lays them to his sides. She loosens his pants and she puts her hands inside. She begins to massage him, asking, “How does that feel?” “It feels great—but my thumb still hurts like hell.

A young woman is having a physical examination and is very embarrassed about her weight. As she removes her last bit of clothing, she blushes. “I’m so ashamed, Doctor.” she says. “I guess I let myself go.” The physician is checking her eyes and ears. “Don’t feel ashamed, Miss. You look just fine.” “Do you really think so, Doctor?” “Of course,” he says, brandishing a tongue depressor. “Now open wide and say

The time-tested physics of standup comedy have proven reliable and repeatable.

If you set five men pulling on a rope, you multiply the strength of each in dividual by five. With death, it's the other way round. If you kill a thousand men, the death of each is a thousand times less important than if he had died alone (Gombrowicz). A specious logic, since it is a matter of quantity in the one case and of quality in the other (the one is multiplied, the other divided, so deep down there is no paradox). But it is a superb proposition all the same! Certain regimes reserve for themselves a monopoly on physical violence. As for the socialists, they reserve a monopoly on moral comedy. That is why it is quite difficult to make fun of them. But this is not something they should be proud of, because when something no longer makes you laugh, it probably means what is ridiculous about it is already deeply buried away, immune from further harm, irreparable. It is against all the rules for power to appropriate a function - ridicule - which commonly belongs to the sphere of manners and which is normally the province of the public mind

while the “reign” of Dionysos corresponds to “the ethical and physical virtues,” which are practiced on the plane marked by the most extreme divisions, amidst life and death, tragedy and comedy, and hence this God suffers symbolic dismemberment. ​Thus

Just as melancholy is sadness made light, so humor is comedy that has lost its physical weight (that dimension of human carnality that, however, makes Boccaccio and Rabelais great) and casts doubts on the self, the world, and the entire network of relations they form.

Scary Wheels is a hilariously dark and thrilling physics-based racing game that combines absurd humor with fast-paced action. Inspired by the internet-famous Happy Wheels, this game delivers a chaotic ride full of danger, destruction, and unexpected surprises. With unique characters, deadly obstacles, and ragdoll physics, Scary Wheels offers an experience that is as funny as it is challenging. The core gameplay revolves around controlling oddball characters on unstable vehicles through increasingly difficult obstacle courses. Whether it’s a grandpa in a motorized wheelchair, a daredevil cyclist, or a businessperson on a segway, each character comes with their own brand of awkward movement and vulnerability. The game encourages trial and error, and part of the fun is seeing just how spectacularly things can go wrong. The physics engine is what makes Scary Wheels so addictive. Characters react to terrain and collisions with exaggerated motion and often hilarious consequences. Limbs can detach, vehicles explode, and players are flung into traps if their timing isn’t perfect. This unpredictability keeps every level exciting and makes every small victory satisfying. One of the most entertaining aspects of the game is its use of dark humor. Although the injuries and deaths are exaggerated and cartoonish, they provide a twisted kind of comedy. Players often find themselves laughing out loud after watching their character fly off a cliff or get squashed by a giant hammer. This lighthearted gore gives Scary Wheels a unique identity among racing games. Level design in Scary Wheels is both creative and punishing. Courses are filled with hazards like spinning blades, spikes, mines, collapsing platforms, and swinging axes. Each level is a puzzle that requires a mix of timing, reflexes, and sometimes pure luck. As you progress, the challenges become more intense, demanding better control and more thoughtful strategies. Despite its chaotic nature, the game features simple controls that make it accessible to players of all ages. You move using the arrow keys or WASD, and balance your character to avoid tipping over or crashing. The simplicity of these controls allows anyone to jump in and enjoy the game within minutes, but true mastery requires practice and patience. Replay value is high in Scary Wheels thanks to its diverse selection of characters and ever-changing obstacle courses. Each character behaves differently, giving players a reason to revisit old levels with new strategies. The unpredictability of physics-based gameplay also means no two runs are ever quite the same. Scary Wheels is a perfect blend of laughter and challenge, offering an entertaining experience for gamers who enjoy over-the-top physics and ridiculous, sometimes gruesome outcomes. Whether you’re trying to beat a level or just seeing how much chaos you can cause, the game guarantees fun with every attempt. For fans of ragdoll physics, outrageous fails, and high-stakes obstacle courses, Scary Wheels is a must-play.

The very implausibility of the restoration of pared down fingernails and amputated limbs at the end of time underlines, for me, the despicableness of human beings who, in fact, torture and mutilate their fellow human beings. Yet, the implausible, even risible doctrine of the resurrection of the body asserts that—if there is such a thing as redemption—it must redeem our experience of enduring and even inflicting such acts. If there is meaning to the history we tell and the corruption (both moral and physical) we suffer, surely it is in (as well as in spite of) fragmentation. Bodily resurrection at the end of time is, in a technical sense, a comic—that is, a contrived and brave—happy ending.

Recognizing not only intellectually but psychologically and physically, through laughter, that we are not the only ones feeling such a range of emotions makes us feel less alone, provides a renewed sense of perspective, allows us to hit an emotional “reset” button and can relieve stress.

A person's being in love often furnishes comic, and sometimes even tragic, phenomena, both because, taken possession of by the spirit of the species, he is now ruled by it, and no longer belongs to himself; in this way his conduct becomes inappropriate to the individual. In the higher degrees of being in love, his thoughts are given such a poetical and sublime touch, even a transcendent and hyperphysical tendency, by virtue of which he appears wholly to lose sight of his real, very physical aim.

Woman was an idol of belly-magic. She seemed to swell and give birth by her own law... Man honored but feared her. She was the black maw that had spat him forth and would devour him anew. Men, bonding together, invented culture as a defense against female nature... from this ... has come the spectacular glory of male civilization, which has lifted woman with it. The very language and logic modern woman uses to assail patriarchal culture were the invention of men. Hence, the sexes are caught in a comedy of historical indebtedness. Man, repelled by his debt to a physical mother, created an alternate reality, a heterocosm to give him the illusion of freedom. Woman, at first content to accept man's protections but now inflamed with desire for her own illusory freedom, invades man's systems and suppresses her indebtedness to him as she steals them.