WEBVTT - Isn't It Ironic, Dontcha Think? 

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<v Speaker 1>Welcome to Stuff you Should Know, a production of iHeartRadio.

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<v Speaker 2>Hey, and welcome to the podcast. I'm Josh, and there's

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<v Speaker 2>Chuck and jere Bears here too, And this is Stuff

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<v Speaker 2>you should Know, the irony edition. It's a little on

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<v Speaker 2>the nose, isn't it?

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<v Speaker 1>I think?

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<v Speaker 2>So? Sorry, let me try again. The isn't it ironic?

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<v Speaker 2>Don't you think? Addition?

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<v Speaker 1>Yeah, well, I mean if you are our age or above,

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<v Speaker 1>maybe a few below, or.

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<v Speaker 2>A weird younger person.

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<v Speaker 1>Yeah, you might have made fun of Alanis Morissett for

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<v Speaker 1>that whole thing, because I remember at the time, like

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<v Speaker 1>people dissing on that song because they were like, basically,

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<v Speaker 1>none of what she mentions is ironic.

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<v Speaker 2>No rain on your wedding day. I mean, yes, it's

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<v Speaker 2>not expected, but it can be. You know, it's a

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<v Speaker 2>pretty it's very possible. It's just bad luck in that situation.

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<v Speaker 2>That's one good example.

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<v Speaker 1>Yeah, what else a free ride when.

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<v Speaker 2>You're already there? No, not really no. Basically, nothing that

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<v Speaker 2>she said was technically ironic, but the fact that Atlantis

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<v Speaker 2>Morris set Canada's greatest hero felt okay with basically saying

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<v Speaker 2>this is all irony and ironic, so much so that

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<v Speaker 2>I'm gonna name my song ironic. Yeah, that just kind

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<v Speaker 2>of goes to show like how wide open everyone's interpretation

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<v Speaker 2>of what irony is is.

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<v Speaker 1>Yeah, I mean it's kind of notoriously hard to define.

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<v Speaker 1>Olivia helped us with this, and she, you know, the

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<v Speaker 1>other sort of cultural example she gave initially was Reality Bites,

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<v Speaker 1>And in that movie, it's like it's not a plot point,

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<v Speaker 1>but I mean it's sort of not a plot point,

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<v Speaker 1>but at some point when on a rider, you know,

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<v Speaker 1>is asked to define irony and she really can't. And

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<v Speaker 1>then Ethan Hawk, who you know at the time was

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<v Speaker 1>supposed to be like this super cool guy, but you

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<v Speaker 1>know that movie, the way that movie has age, like

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<v Speaker 1>you look back and you're like, he was kind of

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<v Speaker 1>a big jerk in that movie.

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<v Speaker 2>Yeah, I saw something about that that Ben Stiller was

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<v Speaker 2>actually the nice guy, but he was, you know, part

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<v Speaker 2>of the establishment.

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<v Speaker 1>Where Ethan Hawk was not totally.

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<v Speaker 2>Nice, but he was like the cool dude, but he

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<v Speaker 2>was like that that's a guy that she wanted, right.

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<v Speaker 1>Yeah, that's the irony of the movie. But yeah, Ethan Hawk,

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<v Speaker 1>he kind of makes her feel dumb by like defining

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<v Speaker 1>irony really plainly it's when the actual meeting is the

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<v Speaker 1>complete opposite from the literal meeting, which is, you know,

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<v Speaker 1>at the time it seemed like, oh, how clever, but

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<v Speaker 1>it's really not just to read some explicit definition of

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<v Speaker 1>one type of irony to prove you're smart. Is they

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<v Speaker 1>missed the mark in retrospect?

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<v Speaker 2>Sure, and even still like he's talking about such a

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<v Speaker 2>narrow definition of irony that he might as well just

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<v Speaker 2>kept his darn mouth shut.

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<v Speaker 1>Yeah. Yeah, but that's kind of like you said, the

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<v Speaker 1>whole point of this is a really hard thing to define.

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<v Speaker 1>I think Lyvia did a great job with a tough topic,

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<v Speaker 1>and like, you know, looking at it from a historical perspective,

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<v Speaker 1>I think helps.

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<v Speaker 2>Yeah, I just want to jump in. I was silent

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<v Speaker 2>because I didn't agree, but I want to say Lyvia

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<v Speaker 2>did a great job with this. I think this was

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<v Speaker 2>a bit of a a vision quest maybe for her.

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<v Speaker 2>I don't know if that's the right term, but it

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<v Speaker 2>was very difficult assignment.

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<v Speaker 1>Yeah, you've been throwing out a lot of these very

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<v Speaker 1>esoteric topics lately.

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<v Speaker 2>Yeah, I don't know why. I guess I don't know why.

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<v Speaker 2>I know you think it's because I just turned fifty

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<v Speaker 2>but I don't think that's it.

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<v Speaker 1>I wasn't going to say.

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<v Speaker 2>That, Okay, Well, at any rate, Yeah, this is something

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<v Speaker 2>that I've wanted to do for a while, and some

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<v Speaker 2>people have written in and asked for it. But yeah,

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<v Speaker 2>I think one of the reasons I wanted to tackle

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<v Speaker 2>is because I don't no exactly yeah what it is,

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<v Speaker 2>but also in the like myriad ways that it's played

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<v Speaker 2>like a really big role in shaping society. In fact,

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<v Speaker 2>there's this whole kind of schism between the ironic and

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<v Speaker 2>people who resent the ironic. Yeah, as we'll see, that

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<v Speaker 2>dates back hundreds of years. So let's get into it, chuck,

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<v Speaker 2>because irony is nothing new like this. The nineties gen

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<v Speaker 2>X slackers didn't invent.

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<v Speaker 1>It, No, not at all. The term itself comes from

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<v Speaker 1>a character actually not really a thing yet in classical

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<v Speaker 1>Greek I guess drama. The character was E I R

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<v Speaker 1>N with a little rooftop over.

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<v Speaker 2>The little puff of smoke coming out the chimney.

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<v Speaker 1>Yeah, ieron, I guess or iron.

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<v Speaker 2>I'm going with iron.

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<v Speaker 1>Well, I guess it would be the second letter, but

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<v Speaker 1>that's German, not about Greek. But yeah, irony, let's go

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<v Speaker 1>with iron, Okay, but that means one who disassembles. And

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<v Speaker 1>that was like, like I said, that was a character,

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<v Speaker 1>and a lot of Greek drama and comedy and comedy

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<v Speaker 1>writers would insert that character to accomplish like a dramatic

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<v Speaker 1>or comedic goal. And one of the ways that they

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<v Speaker 1>would do this, they would do it in a lot

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<v Speaker 1>of ways, but one of the ways was as sort

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<v Speaker 1>of a sort of like a detective who would play

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<v Speaker 1>dumb in order to sort of sniff sniff someone off

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<v Speaker 1>the case and reveal them as.

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<v Speaker 2>A fool, right, or a fraud or somebody who knows

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<v Speaker 2>much less than they they like to think that they do. Yeah,

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<v Speaker 2>and it's in a way, it's you're setting them up

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<v Speaker 2>to make a fool of themselves. You call it like

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<v Speaker 2>paying out the rope that somebody's hanging themselves with. Entire

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<v Speaker 2>is what they did. And I guess Plato used to

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<v Speaker 2>love this stuff. He would take off his robe and

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<v Speaker 2>like twirl it over his head. Yeah, he would get

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<v Speaker 2>so excited about using Socrates as an iron. And so

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<v Speaker 2>Socrates is basically like he would be really like smarmy,

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<v Speaker 2>overly flattering, essentially basically saying please you know so much,

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<v Speaker 2>please teach me, and then he would eventually assemble them

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<v Speaker 2>in their entire identity.

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<v Speaker 1>Yeah. In Latin, that iron word became erronia I r

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<v Speaker 1>O n I A. And there was a Roman orator

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<v Speaker 1>in the first century name Quintilian who said, it's basically

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<v Speaker 1>saying something contrary to what you mean, which is what

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<v Speaker 1>Ethan Hawk would kind of intimate many years later, and

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<v Speaker 1>the Europeans in the Middle Ages they were like, yeah,

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<v Speaker 1>that's that Quintilian definition is the one that we're going

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<v Speaker 1>to use as like a like an allegory on a contradiction.

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<v Speaker 2>Basically, yeah, And it was basically a devisive speech. It

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<v Speaker 2>wasn't like like a whole book could be ironic or

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<v Speaker 2>a whole TV show could be ironic, in part because

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<v Speaker 2>there weren't TV shows back then, but you get the point.

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<v Speaker 1>It's like a one liner.

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<v Speaker 2>It was, yeah, exactly, that's what irony was. And it

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<v Speaker 2>was no broader than that. It was a very narrow

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<v Speaker 2>definition for hundreds of years until the Renaissance came along

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<v Speaker 2>and they the Renaissance people were like, oh, okay, we

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<v Speaker 2>really like this stuff. They I guess got back into

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<v Speaker 2>Socratic irony, which was using people playing dumb essentially to

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<v Speaker 2>show how actually dumb someone else was. But they also

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<v Speaker 2>identified the irony of fate, which is far and away

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<v Speaker 2>the greatest type of irony. It's also called situational irony today,

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<v Speaker 2>and that's the one where instead of somebody making a

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<v Speaker 2>one liner or Socrates playing dumb, this is like the

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<v Speaker 2>universe does this to you, or life does this to you.

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<v Speaker 2>Just something happens that no one had any control over,

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<v Speaker 2>but it's just indisputably ironic. And that's to me, that's

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<v Speaker 2>the money irony.

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<v Speaker 1>Yeah, I think so too, because it's a recognition of

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<v Speaker 1>a thing that happened that wasn't like set up or

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<v Speaker 1>contrived or written to be clever or something like that.

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<v Speaker 1>So I'm with you totally.

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<v Speaker 2>And I think that that's a big distinction, is we'll

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<v Speaker 2>see like being clever and being the hapless subject of irony.

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<v Speaker 2>I think that's a big distinction.

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<v Speaker 1>Yeah, for sure. The German Romantics really got into it. Again, they,

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<v Speaker 1>like most people, had a lot of trouble defining it,

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<v Speaker 1>but they were very into Like they were into it

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<v Speaker 1>in a sense of like, hey, this is how we

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<v Speaker 1>can question conventional wisdom by throwing out ironic viewpoints.

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<v Speaker 2>Yeah, and the way that they did it. So I

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<v Speaker 2>was looking into this because I didn't it took me.

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<v Speaker 2>I'm like, what are they talking about? Essentially, the Romantics

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<v Speaker 2>were the first postmodern people. They were the first to

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<v Speaker 2>basically say, hey, you know, life, have you ever stopped

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<v Speaker 2>and thought about life? Like? Are there other ways life

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<v Speaker 2>could go? What are other things you can do with

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<v Speaker 2>your life? And they were essentially like the first to

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<v Speaker 2>challenge conventional wisdom in the West as a group, and

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<v Speaker 2>they essentially became they prized irony because to them that

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<v Speaker 2>was a way of like thinking about things, of like

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<v Speaker 2>turning things over in your mind. So that's what the

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<v Speaker 2>German Romantics were into. And there were opponents to that

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<v Speaker 2>who are like, yeah, no, this is you're going down

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<v Speaker 2>a really bad path here.

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<v Speaker 1>Yeah. One guy in particular, George Wilhelm Frederick Hegel, he

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<v Speaker 1>was a German philosopher but not a Romantic. He was like,

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<v Speaker 1>I don't like any of that stuff. And I think

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<v Speaker 1>it seems like he kind of saw it as like

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<v Speaker 1>a sort of a smart alecky way to go through life,

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<v Speaker 1>like you're putting yourself above someone else and you're not

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<v Speaker 1>committing to anything, kind of like the like hipster irony

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<v Speaker 1>now maybe.

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<v Speaker 2>Right exactly, Yeah, kind of like you know, coming up

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<v Speaker 2>on something that, oh, you love your life of milk

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<v Speaker 2>and cows. Huh, I guess that's all there is to life.

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<v Speaker 1>Yeah.

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<v Speaker 2>Yeah, So that was Hegel Kurkerguard, who was the Christian ethicist.

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<v Speaker 2>He really hated irony as well. He called it infinite

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<v Speaker 2>absolute negativity. And so in the way that Hegel like

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<v Speaker 2>identified hipster irony as being just annoying and kind of

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<v Speaker 2>looking down on people, Kirkerguard kind of took that and

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<v Speaker 2>multiplied it by all the people doing this and found

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<v Speaker 2>like you could actually as a society lose your way

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<v Speaker 2>and like lose meaning to life if you examine stuff

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<v Speaker 2>too much rather than just living it. And so he

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<v Speaker 2>essentially predicted the postmodern age which we're in right now,

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<v Speaker 2>that loss of meaning that happened because people started thinking

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<v Speaker 2>about the possibilities that are out there not rather than

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<v Speaker 2>just actuality.

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<v Speaker 1>Yeah, for sure. As far as like you know, as

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<v Speaker 1>time marched on in the nineteenth and twentieth centuries, it

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<v Speaker 1>became a big thing in like the literary world. There

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<v Speaker 1>was a essay in eighteen thirty three from a classical

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<v Speaker 1>scholar an English scholar name Connop Thirwall who he was

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<v Speaker 1>into the irony of faith, meaning, like you said, that's

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<v Speaker 1>what we call situational irony now. But he was doing

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<v Speaker 1>that through the lens of like you know, works of

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<v Speaker 1>literature basically, and that's where we get dramatic irony basically

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<v Speaker 1>was from him, which is the idea that the audience

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<v Speaker 1>knows something that the characters don't, and when that plays out,

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<v Speaker 1>that's a dramatic irony.

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<v Speaker 2>Right, and he retroactively applied it to Oedipus Rex.

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<v Speaker 1>Lots of irony there.

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<v Speaker 2>There really is. There's a lot, So there's some in that.

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<v Speaker 2>So King LEAs and Queen Jacosta get get rid of

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<v Speaker 2>their baby because it's been predicted that their baby's going

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<v Speaker 2>to grow up and kill his father, so they're like, well,

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<v Speaker 2>let's get this baby away from us. By doing so,

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<v Speaker 2>their kid grew up without knowing who his father and

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<v Speaker 2>mother were, So he actually grows up to slay King

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<v Speaker 2>Leis without realizing that this is his father. So it

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<v Speaker 2>happened anyway. They maybe if they had brought him up

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<v Speaker 2>and not given him away, he wouldn't have killed them.

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<v Speaker 2>That was a pretty big ironic twist in that whole play.

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<v Speaker 1>Yeah, I think if Alanis Morsat had a sung lines

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<v Speaker 1>like that, it's like Oedipis, that's right, killing his dad.

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<v Speaker 1>And then there's more irony heaped up on top of that,

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<v Speaker 1>which is later on. Of course, he didn't know that

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<v Speaker 1>he had killed Leis, so he seeks vengeance against his

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<v Speaker 1>the king's murderer, who is himself.

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<v Speaker 2>Right, And then there's also a bit of dramatic irony.

0:12:49.480 --> 0:12:52.439
<v Speaker 2>The audience knows that Oedipus is eventually going to claw

0:12:52.480 --> 0:12:54.400
<v Speaker 2>his own eyes out. Yeah yeah, And at one point

0:12:54.440 --> 0:12:57.640
<v Speaker 2>he mocks a blind man for being blind, which is

0:12:57.720 --> 0:13:01.920
<v Speaker 2>just cruel. No matter when you you're speaking.

0:13:01.720 --> 0:13:04.640
<v Speaker 1>I'm sure the audience is like, oh, yeah, exactly.

0:13:04.840 --> 0:13:06.960
<v Speaker 2>So yeah, I mean like there's a lot of irony,

0:13:07.040 --> 0:13:09.599
<v Speaker 2>and here's this is the thing. So what was the

0:13:09.640 --> 0:13:11.839
<v Speaker 2>guy's name? Again? I know it's made up, but.

0:13:13.600 --> 0:13:15.760
<v Speaker 1>Come up with Thurwall?

0:13:16.480 --> 0:13:24.680
<v Speaker 2>No way, that's real, weird. So mister Thurtwall basically shows like,

0:13:24.760 --> 0:13:27.760
<v Speaker 2>here's irony. Here's irony too, here's irony. But if if

0:13:27.800 --> 0:13:30.199
<v Speaker 2>you pin him or anybody else down and saying great,

0:13:30.360 --> 0:13:33.320
<v Speaker 2>can you make a universal definition for irony, I'm sure

0:13:33.320 --> 0:13:35.760
<v Speaker 2>he would have thrown his hands up, and that's just it.

0:13:36.200 --> 0:13:41.360
<v Speaker 2>I think Winona Ryder even says in reality bites like

0:13:41.440 --> 0:13:44.080
<v Speaker 2>I can tell when I see it, I know it,

0:13:44.160 --> 0:13:47.280
<v Speaker 2>but you can't really come up with a good universal

0:13:47.320 --> 0:13:49.560
<v Speaker 2>definition for it. But you can go back and be like,

0:13:49.600 --> 0:13:53.160
<v Speaker 2>that's ironic. That's ironic. It's almost like humans have a

0:13:53.559 --> 0:13:56.119
<v Speaker 2>innate like sense of irony.

0:13:56.800 --> 0:13:59.080
<v Speaker 1>Yeah, and it is funny now that I think about it,

0:13:59.160 --> 0:14:01.560
<v Speaker 1>that is so iron that Ben Stiller was the good

0:14:01.559 --> 0:14:05.080
<v Speaker 1>guy m because he was genuinely like a really nice

0:14:05.080 --> 0:14:10.480
<v Speaker 1>guy and treated her very well in that movie. But yeah,

0:14:10.520 --> 0:14:12.440
<v Speaker 1>he was part of he was part of the establishment,

0:14:12.480 --> 0:14:15.960
<v Speaker 1>so he wasn't cool and Ethan Hawk, Like, what's he doing?

0:14:16.040 --> 0:14:18.120
<v Speaker 1>Not Ethan Hawk? But what would that character be doing?

0:14:18.160 --> 0:14:21.920
<v Speaker 2>Now, I don't know. I mean, I hesitate to say,

0:14:21.920 --> 0:14:24.160
<v Speaker 2>but I'm sure you know he would have a.

0:14:24.120 --> 0:14:26.080
<v Speaker 1>Podcast still, be right.

0:14:26.560 --> 0:14:28.520
<v Speaker 2>He would be very much in love with his own

0:14:29.360 --> 0:14:30.920
<v Speaker 2>you know, mind or intellect.

0:14:31.120 --> 0:14:32.640
<v Speaker 1>Yeah, sure, so he'd have a podcast.

0:14:33.080 --> 0:14:34.600
<v Speaker 2>Yeah, I think he nailed it.

0:14:34.640 --> 0:14:37.680
<v Speaker 1>Actually, All right, let's take a break and we'll come

0:14:37.720 --> 0:15:05.960
<v Speaker 1>back and talk about irony a little more. All right,

0:15:06.080 --> 0:15:08.440
<v Speaker 1>So we've defined, or at least talked about a couple

0:15:08.480 --> 0:15:10.760
<v Speaker 1>of different types of irony. But here comes some more

0:15:10.760 --> 0:15:16.360
<v Speaker 1>everybody verbal irony. This gets a little dicey because verbal

0:15:16.400 --> 0:15:21.840
<v Speaker 1>irony and sarcasm are like sarcasm is is sort of

0:15:21.840 --> 0:15:25.000
<v Speaker 1>a way of being ironic, but to me, it's different

0:15:25.080 --> 0:15:28.840
<v Speaker 1>because there's a smarminess to it. Yeah, they're lumped together

0:15:29.000 --> 0:15:32.400
<v Speaker 1>a lot like sarcasm and irony. So if you know,

0:15:32.480 --> 0:15:35.200
<v Speaker 1>if you were to say, like if it's really raining

0:15:35.760 --> 0:15:39.320
<v Speaker 1>outside and the weather is really bad and you're like nice

0:15:39.320 --> 0:15:42.680
<v Speaker 1>weather like that, that is irony. It's got a little

0:15:42.680 --> 0:15:46.920
<v Speaker 1>smart but not as smarmy as like, oh, that speech

0:15:46.960 --> 0:15:50.400
<v Speaker 1>you gave was so great, you know, to a bad

0:15:50.440 --> 0:15:52.960
<v Speaker 1>speech like that is super sarcastic and smarmy.

0:15:53.520 --> 0:15:56.200
<v Speaker 2>Yeah, I think you said. One of us said that

0:15:56.280 --> 0:16:00.840
<v Speaker 2>irony is based on one who disassembles. Sarcasm is to

0:16:01.080 --> 0:16:04.520
<v Speaker 2>tear flesh. Yeah, you know, and that really kind of

0:16:04.600 --> 0:16:07.360
<v Speaker 2>goes to show you like they both do something similar,

0:16:07.400 --> 0:16:10.760
<v Speaker 2>but one's way more vicious than the other. Yeah, sarcasm

0:16:10.840 --> 0:16:14.160
<v Speaker 2>is pretty lame. It's just a I think it's meant

0:16:14.200 --> 0:16:16.520
<v Speaker 2>to be a phase in the development of a person's

0:16:16.520 --> 0:16:20.080
<v Speaker 2>sense of humor. It's supposed to come early on and

0:16:20.160 --> 0:16:23.440
<v Speaker 2>be abandoned eventually, but some people don't abandon it and

0:16:23.600 --> 0:16:25.680
<v Speaker 2>they love Deadpool. Yeah.

0:16:25.840 --> 0:16:28.880
<v Speaker 1>I try not to be sark Oh, I take that back.

0:16:29.000 --> 0:16:32.160
<v Speaker 1>I'm I don't try to not be sarcastic. I think

0:16:33.760 --> 0:16:35.480
<v Speaker 1>I think it just sort of fades away. I'm sure

0:16:35.480 --> 0:16:37.600
<v Speaker 1>I am sarcastic sometimes, but I don't know. It's not

0:16:37.600 --> 0:16:40.200
<v Speaker 1>the greatest look once you're a certain age.

0:16:40.400 --> 0:16:43.040
<v Speaker 2>I can't think of any of you being sarcastic.

0:16:43.560 --> 0:16:44.520
<v Speaker 1>Oh you can't.

0:16:47.160 --> 0:16:47.480
<v Speaker 2>I can.

0:16:48.080 --> 0:16:50.680
<v Speaker 1>You're not very sarcastic either, I don't think unless you're

0:16:50.680 --> 0:16:52.600
<v Speaker 1>just trying to get it, like get a laugh or something.

0:16:53.840 --> 0:16:58.280
<v Speaker 2>Sure, yeah, I mean that's definitely My humor is fairly ironic.

0:16:58.360 --> 0:17:00.840
<v Speaker 2>But I like to think it's not at the expensive

0:17:01.040 --> 0:17:03.360
<v Speaker 2>not anybody. And usually it's if it's at the expense

0:17:03.400 --> 0:17:05.200
<v Speaker 2>of somebody, it's at the expense of myself.

0:17:05.280 --> 0:17:06.800
<v Speaker 1>Like yeah, sepricat.

0:17:07.560 --> 0:17:09.920
<v Speaker 2>Yeah, that's another way to put it. Sure, that's how

0:17:10.119 --> 0:17:12.600
<v Speaker 2>Ethan Hawke's character would put it. Uh.

0:17:12.800 --> 0:17:14.720
<v Speaker 1>Here's a word that I never knew, but I knew

0:17:14.760 --> 0:17:17.199
<v Speaker 1>it was a thing. I've never heard of Latote's before

0:17:17.600 --> 0:17:20.280
<v Speaker 1>me either. But that's a word that is like a

0:17:20.359 --> 0:17:24.320
<v Speaker 1>verbal like understated verbal irony, like if someone asks you

0:17:24.480 --> 0:17:27.679
<v Speaker 1>if if you if you like something or not that

0:17:27.760 --> 0:17:30.159
<v Speaker 1>you really really hate, and you say, like, not the

0:17:30.160 --> 0:17:32.640
<v Speaker 1>biggest fan of that. That is called a.

0:17:32.760 --> 0:17:36.679
<v Speaker 2>Litot's I'm so glad you're the one who said that,

0:17:36.760 --> 0:17:38.800
<v Speaker 2>because that's not how I was going to pronounce that.

0:17:39.040 --> 0:17:42.159
<v Speaker 1>We can say lightotes. Well, I looked it up because

0:17:42.760 --> 0:17:45.119
<v Speaker 1>I get I'm frankly tired of being made fun of

0:17:45.480 --> 0:17:48.360
<v Speaker 1>you Mal You're a professional, I'm getting there.

0:17:48.880 --> 0:17:53.120
<v Speaker 2>I'm just well, I'm just a lump. So yeah, that's

0:17:53.320 --> 0:17:59.199
<v Speaker 2>it has to negate what the like, I don't know

0:17:59.280 --> 0:18:01.359
<v Speaker 2>any better way to put it, Like, yeah, I'm not

0:18:01.400 --> 0:18:04.280
<v Speaker 2>a big fan, meaning you really don't like something, so

0:18:04.440 --> 0:18:07.240
<v Speaker 2>it's an understatement, but at the same time you're negating

0:18:07.880 --> 0:18:11.840
<v Speaker 2>the fan part. I don't fully understand it in the

0:18:12.080 --> 0:18:14.439
<v Speaker 2>in the sense that like, if you think about something

0:18:14.480 --> 0:18:18.360
<v Speaker 2>too hard like economics, right, yeah, yeah, you can suddenly

0:18:18.400 --> 0:18:22.720
<v Speaker 2>like lose it and not understand it anymore. That's that's

0:18:22.840 --> 0:18:24.000
<v Speaker 2>kind of how that is with me.

0:18:24.359 --> 0:18:27.359
<v Speaker 1>Yeah, just breeze right on by the light of tease exactly.

0:18:28.560 --> 0:18:31.520
<v Speaker 2>Let's talk situational irony, because this is the whole reason

0:18:31.560 --> 0:18:35.040
<v Speaker 2>for this episode. Man, Like, there's nothing more delightful than

0:18:35.040 --> 0:18:38.040
<v Speaker 2>me than a really good ironic twist.

0:18:38.680 --> 0:18:42.800
<v Speaker 1>Yeah, And I feel like this can be played in well,

0:18:42.840 --> 0:18:44.480
<v Speaker 1>I mean it happens in real life, of course, but

0:18:44.560 --> 0:18:48.639
<v Speaker 1>can be played in in you know, literature and movies

0:18:48.680 --> 0:18:52.240
<v Speaker 1>and TV and stuff like that as like a as

0:18:52.280 --> 0:18:54.560
<v Speaker 1>like a come up. And sometimes like sometimes it can

0:18:54.560 --> 0:18:57.840
<v Speaker 1>be very sad when situational irony strikes, but sometimes it's

0:18:57.880 --> 0:19:00.280
<v Speaker 1>like somebody gets what they deserved in a yeah, ironic

0:19:00.359 --> 0:19:01.560
<v Speaker 1>way for.

0:19:01.560 --> 0:19:05.240
<v Speaker 2>Sure, and then sometimes it's just like an impressive other times,

0:19:06.040 --> 0:19:10.000
<v Speaker 2>most of the time, if not always, there's a black

0:19:10.160 --> 0:19:13.879
<v Speaker 2>comedic sense to it, or if you look at it

0:19:13.880 --> 0:19:16.760
<v Speaker 2>deeply enough, there is something funny about it, even if

0:19:16.760 --> 0:19:19.720
<v Speaker 2>it is sad, even if it is tragic, if it's

0:19:19.760 --> 0:19:24.920
<v Speaker 2>still ironic, there's something there's something more to it. There's

0:19:24.920 --> 0:19:27.239
<v Speaker 2>something more valuable to it than just what it is

0:19:27.280 --> 0:19:32.920
<v Speaker 2>on its surface. Like a lifeguard drowning, right, Like that's sad,

0:19:33.080 --> 0:19:35.400
<v Speaker 2>of course, Like if you put yourself in the if

0:19:35.440 --> 0:19:37.800
<v Speaker 2>you know the person's name, you know the situation of

0:19:37.880 --> 0:19:39.919
<v Speaker 2>their death, Like they were trying to save someone and

0:19:39.960 --> 0:19:42.120
<v Speaker 2>they drowned. They had like this life ahead of them.

0:19:42.240 --> 0:19:45.440
<v Speaker 2>They left a child behind, you know, as a survivor.

0:19:45.800 --> 0:19:48.400
<v Speaker 2>Once you know that stuff, it's it's not funny at all.

0:19:48.640 --> 0:19:50.960
<v Speaker 2>But if you just step back and you say a

0:19:51.000 --> 0:19:55.600
<v Speaker 2>lifeguard drowned, there's something just in that irony. There's something

0:19:56.400 --> 0:20:00.240
<v Speaker 2>blackly comedic about it. There's something funny about it. I

0:20:01.040 --> 0:20:04.199
<v Speaker 2>think everything has something funny about it.

0:20:04.600 --> 0:20:07.520
<v Speaker 1>Yeah, I mean I laughed instinctively the second you set

0:20:07.520 --> 0:20:10.760
<v Speaker 1>a lifeguard dround because I didn't know it was coming. Yeah,

0:20:11.320 --> 0:20:14.359
<v Speaker 1>it just made me laugh. There's nothing funny about anyone dying.

0:20:14.400 --> 0:20:17.399
<v Speaker 1>But since that didn't really happen and you just said it,

0:20:17.400 --> 0:20:18.000
<v Speaker 1>it was funny.

0:20:18.440 --> 0:20:21.240
<v Speaker 2>But even still, it's not like you're celebrating that person's

0:20:21.320 --> 0:20:24.960
<v Speaker 2>death by laughing, or you don't care that that person died.

0:20:25.440 --> 0:20:29.880
<v Speaker 2>This is something different. It's separate. It's larger than that

0:20:29.920 --> 0:20:33.640
<v Speaker 2>person's individual death in that sense, but it's tied directly

0:20:33.720 --> 0:20:34.120
<v Speaker 2>to it.

0:20:34.480 --> 0:20:37.040
<v Speaker 1>Yeah. I saw a comedian the other day. I can't

0:20:37.080 --> 0:20:40.480
<v Speaker 1>remember her name, Oh what was it? But she was

0:20:40.520 --> 0:20:42.720
<v Speaker 1>talking about like her worst death would be to be

0:20:42.880 --> 0:20:46.679
<v Speaker 1>like the only person that died in a plane crash. Yeah,

0:20:46.720 --> 0:20:48.560
<v Speaker 1>and I couldn't figure out where she was going. I

0:20:48.600 --> 0:20:50.480
<v Speaker 1>was like, I sort of get it, but I don't

0:20:50.720 --> 0:20:53.000
<v Speaker 1>fully get it. And then she was explaining, like when

0:20:53.040 --> 0:20:55.240
<v Speaker 1>you see the news reports, you know, there was a

0:20:55.280 --> 0:20:58.040
<v Speaker 1>plane crash and everyone's horrified, and then it's like one

0:20:58.080 --> 0:21:01.040
<v Speaker 1>person dies and everyone's like, oh, well that wasn't that bad.

0:21:03.080 --> 0:21:04.199
<v Speaker 1>You're just the one person.

0:21:04.880 --> 0:21:07.119
<v Speaker 2>Oh man, you need to introduce me to that friend.

0:21:08.160 --> 0:21:09.400
<v Speaker 1>It's not a friend. It was a comedian.

0:21:10.160 --> 0:21:12.439
<v Speaker 2>Oh, we'll make friends with them, and they introduce me.

0:21:12.720 --> 0:21:14.440
<v Speaker 1>All right. Maybe someone will write in it, or maybe

0:21:14.480 --> 0:21:15.239
<v Speaker 1>she will. You never know.

0:21:15.760 --> 0:21:18.959
<v Speaker 2>There's there's some others too, like a fire station burning

0:21:19.000 --> 0:21:24.400
<v Speaker 2>down so funny, especially especially if no one got hurt. Well,

0:21:24.400 --> 0:21:27.080
<v Speaker 2>that's what I'm saying. There's like, you might not think

0:21:27.080 --> 0:21:29.960
<v Speaker 2>it's funny. I don't even think that's particularly funny. It's ironic,

0:21:30.000 --> 0:21:32.280
<v Speaker 2>But I get tee there's somebody out there who finds

0:21:32.320 --> 0:21:35.480
<v Speaker 2>that funny. That's the thing. It's not always funny to

0:21:35.680 --> 0:21:39.679
<v Speaker 2>everyone all the time, that it could just be one person.

0:21:40.080 --> 0:21:43.760
<v Speaker 2>My theory is that everything is funny at least to

0:21:43.840 --> 0:21:45.600
<v Speaker 2>one person. No.

0:21:45.720 --> 0:21:48.880
<v Speaker 1>I totally agree. And I think what's getting me here

0:21:49.040 --> 0:21:54.120
<v Speaker 1>with the the this kind of irony being played when

0:21:54.840 --> 0:21:57.240
<v Speaker 1>I think there's a sometimes karma attached to it.

0:21:58.119 --> 0:22:01.200
<v Speaker 2>You know what? I mean, yeah, like that lifeguard hit

0:22:01.600 --> 0:22:03.520
<v Speaker 2>a drifter with his car and drove off.

0:22:05.160 --> 0:22:07.160
<v Speaker 1>Well, which kind of plays into the next one, which

0:22:07.200 --> 0:22:10.160
<v Speaker 1>is cosmic irony, which is a little bit like karmic irony,

0:22:10.680 --> 0:22:14.640
<v Speaker 1>and that it's situational irony where you know, the gods

0:22:14.760 --> 0:22:16.680
<v Speaker 1>or whatever fate caused something.

0:22:17.560 --> 0:22:21.280
<v Speaker 2>Yeah, that's essentially the same thing if you ask me

0:22:21.760 --> 0:22:28.400
<v Speaker 2>lifeguard drowning or something. George Carlin, did you see his example? No? Oh,

0:22:28.600 --> 0:22:31.920
<v Speaker 2>I sent it to you. George Carlin, he basically did

0:22:31.960 --> 0:22:35.240
<v Speaker 2>a bit where he explains the difference between what's ironic

0:22:35.320 --> 0:22:38.760
<v Speaker 2>and what's actually not ironic. May I Yeah, you sent

0:22:38.800 --> 0:22:44.560
<v Speaker 2>this to me, Yeah, I did. He basically said this.

0:22:44.760 --> 0:22:48.360
<v Speaker 2>He said that if you are a let's say there's

0:22:48.400 --> 0:22:51.720
<v Speaker 2>a diabetic and he's on his way to buying insulin

0:22:51.800 --> 0:22:56.040
<v Speaker 2>and he gets hit by a delivery truck. If yeah, see,

0:22:56.320 --> 0:23:00.480
<v Speaker 2>if the delivery truck was carrying sugar, that would be

0:23:00.920 --> 0:23:05.280
<v Speaker 2>like poetic and pretty funny, but just bad luck really,

0:23:05.320 --> 0:23:07.960
<v Speaker 2>according to George Carlin, Sure, he said, if the delivery

0:23:07.960 --> 0:23:12.520
<v Speaker 2>truck was carrying insulin, now you've got irony. I think

0:23:12.520 --> 0:23:16.920
<v Speaker 2>both of those things are ironic, whether it's sugar or insulin. Yeah,

0:23:16.920 --> 0:23:18.840
<v Speaker 2>but that was his distinction.

0:23:19.240 --> 0:23:22.120
<v Speaker 1>That's good. Well, we've already talked about dramatic irony. That's

0:23:22.160 --> 0:23:24.520
<v Speaker 1>the next one on the list. And that's again when

0:23:24.640 --> 0:23:28.480
<v Speaker 1>the audience knows something that the characters don't. And Hitchcock

0:23:28.520 --> 0:23:31.320
<v Speaker 1>had a very famous example of like Lessie has seen

0:23:32.040 --> 0:23:36.239
<v Speaker 1>with a couple of characters and a restaurant diner just

0:23:36.560 --> 0:23:39.280
<v Speaker 1>talking about whatever, and a bomb goes off under the table.

0:23:39.320 --> 0:23:42.280
<v Speaker 1>If the audience doesn't know that's happening, it's some great

0:23:42.320 --> 0:23:45.440
<v Speaker 1>tragedy or a shock. If you do know, I mean,

0:23:45.480 --> 0:23:48.320
<v Speaker 1>it still might be a tragedy, but it's not a shock.

0:23:48.440 --> 0:23:51.440
<v Speaker 1>If the audience knows that that bomb is under there,

0:23:51.440 --> 0:23:53.480
<v Speaker 1>and all of a sudden, that adds this real dramatic

0:23:53.520 --> 0:23:55.320
<v Speaker 1>tension to what's happening.

0:23:55.800 --> 0:23:59.240
<v Speaker 2>Yeah, or like the audience knowing Oedipus will tear his

0:23:59.280 --> 0:24:02.600
<v Speaker 2>eyes out, just kind of laughing at him, laughing at

0:24:02.600 --> 0:24:03.800
<v Speaker 2>the blind guy, right.

0:24:03.800 --> 0:24:05.600
<v Speaker 1>Right, like you got to come in your way, buddy.

0:24:06.119 --> 0:24:09.639
<v Speaker 2>There's another one. I didn't ever hear this term for it.

0:24:09.640 --> 0:24:12.720
<v Speaker 2>I've always heard it as breaking the fourth wall, but

0:24:12.960 --> 0:24:16.880
<v Speaker 2>that is actually called romantic irony, and it's where the author,

0:24:16.920 --> 0:24:22.479
<v Speaker 2>the narrator, I guess probably even the character basically breaks

0:24:22.520 --> 0:24:25.840
<v Speaker 2>out of the realm of fiction and seart addressing you,

0:24:26.080 --> 0:24:29.399
<v Speaker 2>the reader or the viewer. That's romantic irony. And the

0:24:29.400 --> 0:24:32.240
<v Speaker 2>reason I think it's called romantic based on the German

0:24:32.320 --> 0:24:36.920
<v Speaker 2>Romantics and their love of irony, that in its purest form,

0:24:37.480 --> 0:24:42.359
<v Speaker 2>the author is basically stopping the narrative to talk to you,

0:24:42.480 --> 0:24:45.840
<v Speaker 2>the reader and say, look at how this guy's you know,

0:24:46.080 --> 0:24:50.159
<v Speaker 2>ideals and hopes and dreams are so far off from reality. Right,

0:24:50.200 --> 0:24:52.639
<v Speaker 2>I take it as like them spelling things out for

0:24:52.680 --> 0:24:53.199
<v Speaker 2>the reader.

0:24:53.280 --> 0:24:56.240
<v Speaker 1>I guess yeah, I like it, you know, for the

0:24:56.359 --> 0:24:58.639
<v Speaker 1>sake of comedy. Like it made me think of like

0:24:59.000 --> 0:25:03.720
<v Speaker 1>Albert Brooks and broadcast news. I don't remember that, you

0:25:03.720 --> 0:25:06.600
<v Speaker 1>don't remember seeing that, or you never saw that, or

0:25:06.600 --> 0:25:07.400
<v Speaker 1>you don't remember that part?

0:25:07.800 --> 0:25:10.919
<v Speaker 2>Is it the one where I'm mad as heck and

0:25:10.960 --> 0:25:12.280
<v Speaker 2>I'm not going to take it anymore?

0:25:12.440 --> 0:25:16.960
<v Speaker 1>No, that's network broadcasting. I've never seen It was a

0:25:17.080 --> 0:25:20.680
<v Speaker 1>James L. Brooks romantic comedy. One of the great movies,

0:25:21.200 --> 0:25:22.960
<v Speaker 1>by the way, I got to see it, especially if

0:25:23.000 --> 0:25:24.040
<v Speaker 1>you like Albert Brooks.

0:25:24.359 --> 0:25:27.560
<v Speaker 2>I do. I love him. I think he's an international treasurer.

0:25:27.720 --> 0:25:31.639
<v Speaker 1>That's right. He was obviously born Albert Einstein. Fun fact,

0:25:32.400 --> 0:25:37.240
<v Speaker 1>what that was his name? The two fun facts about

0:25:37.240 --> 0:25:40.240
<v Speaker 1>Albert books as he was Albert Einstein and changed his name,

0:25:40.680 --> 0:25:43.240
<v Speaker 1>and the other is that he was brothers with the

0:25:43.680 --> 0:25:51.840
<v Speaker 1>super Dave Osborne. Wow, and The Outsiders was written by

0:25:51.840 --> 0:25:52.560
<v Speaker 1>a teenage girl.

0:25:54.440 --> 0:25:58.280
<v Speaker 2>It's the fact of every podcast now. Yeah, wow, thank

0:25:58.320 --> 0:26:00.520
<v Speaker 2>you for that, chuck. Yeah, see broadcast news. It's great,

0:26:00.640 --> 0:26:02.960
<v Speaker 2>like look at great movies. Have you ever seen Network?

0:26:03.359 --> 0:26:05.640
<v Speaker 2>Oh yeah, okay, yeah, I liked it too.

0:26:07.080 --> 0:26:10.200
<v Speaker 1>I didn't say I liked it, No, I loved it.

0:26:11.119 --> 0:26:15.760
<v Speaker 2>Okay. So getting back to irony. You know one thing also,

0:26:15.880 --> 0:26:18.400
<v Speaker 2>I'm proud of us for not being like, was that ironic?

0:26:18.440 --> 0:26:20.800
<v Speaker 2>Were you being ironic? We're not doing that, and that

0:26:20.840 --> 0:26:24.080
<v Speaker 2>would have been really annoying, So kudos to us. If

0:26:24.080 --> 0:26:31.040
<v Speaker 2>you ask me, maybe we'll edit that out.

0:26:31.240 --> 0:26:32.840
<v Speaker 1>I was just thinking in my head how funny it

0:26:32.840 --> 0:26:34.360
<v Speaker 1>would be if I was just about to say that,

0:26:34.480 --> 0:26:36.760
<v Speaker 1>and like the words were sitting in my mouth. That's

0:26:36.760 --> 0:26:39.400
<v Speaker 1>why I was being silent. No, I just was saying

0:26:39.440 --> 0:26:45.280
<v Speaker 1>that would be funny. Back to iron specifically though, right, yeah.

0:26:45.480 --> 0:26:48.800
<v Speaker 2>The socratic irony is what it's also called or philosophical

0:26:48.840 --> 0:26:52.680
<v Speaker 2>irony where you know again you're playing. I think dumb

0:26:52.760 --> 0:26:57.360
<v Speaker 2>is usually the way that it's most often described or presented,

0:26:57.359 --> 0:27:01.359
<v Speaker 2>but it can be other things, like I think Randall P.

0:27:01.520 --> 0:27:04.840
<v Speaker 2>McMurphy Jack Nicholson's character from One Flu Over the Cuckoo's

0:27:04.880 --> 0:27:10.720
<v Speaker 2>Nest is considered philosophically ironic by being a sane person

0:27:10.960 --> 0:27:16.200
<v Speaker 2>in a mental hospital, and in doing so he shows

0:27:16.240 --> 0:27:20.760
<v Speaker 2>like just the unjustness of life in that mental hospital

0:27:22.160 --> 0:27:24.760
<v Speaker 2>seems a little I don't know if off is the

0:27:24.880 --> 0:27:28.560
<v Speaker 2>right term, but like here's where it's like, Okay, maybe

0:27:28.600 --> 0:27:31.680
<v Speaker 2>we need to come up with other terms for stuff

0:27:31.720 --> 0:27:33.960
<v Speaker 2>like this and stop using ironic like that.

0:27:34.359 --> 0:27:37.520
<v Speaker 1>Yeah, that's where like when we get into talking about

0:27:37.560 --> 0:27:42.320
<v Speaker 1>satire and parody, like they always use irony. So I

0:27:42.320 --> 0:27:46.240
<v Speaker 1>guess it's just sort of like a subgenre or maybe

0:27:46.280 --> 0:27:48.560
<v Speaker 1>you know, not a subgenre but its own thing where

0:27:48.560 --> 0:27:49.640
<v Speaker 1>irony comes into play.

0:27:50.520 --> 0:27:55.400
<v Speaker 2>Sure, let's talk satire. I have a pet theory that

0:27:55.520 --> 0:27:58.679
<v Speaker 2>satire is actually super harmful for society.

0:27:59.080 --> 0:28:01.040
<v Speaker 1>Oh interesting, I love satire.

0:28:01.400 --> 0:28:05.800
<v Speaker 2>It can take I like parody, but satire I feel

0:28:05.800 --> 0:28:11.480
<v Speaker 2>like it can take the actual like anger and discontent

0:28:12.520 --> 0:28:16.679
<v Speaker 2>and just release it as it acts as a pressure

0:28:16.760 --> 0:28:19.280
<v Speaker 2>valve for society. Oh okay, we'll just laugh all this

0:28:19.440 --> 0:28:22.439
<v Speaker 2>off and then the status quo can continue on. And

0:28:22.480 --> 0:28:26.280
<v Speaker 2>I think it actually is harmful to society. The better

0:28:26.320 --> 0:28:30.320
<v Speaker 2>and more widespread the satire is, the less change will

0:28:30.359 --> 0:28:33.480
<v Speaker 2>actually come along. Like society has to go through really

0:28:33.600 --> 0:28:37.399
<v Speaker 2>rough periods where it's really upset to affect real change,

0:28:37.960 --> 0:28:40.240
<v Speaker 2>and satire kind of prevents that from happening.

0:28:40.480 --> 0:28:42.280
<v Speaker 1>I guess that's a kind of satire because there's so

0:28:42.400 --> 0:28:47.600
<v Speaker 1>much comedic satire that you love in your life, you know.

0:28:48.240 --> 0:28:50.400
<v Speaker 2>Okay, I'll go with like spinal tap.

0:28:52.000 --> 0:28:57.200
<v Speaker 1>Okay, I mean The Simpsons is a satire, is it? Yeah?

0:28:58.000 --> 0:29:01.959
<v Speaker 2>You think? I don't know. Are you saying is it ironic?

0:29:02.040 --> 0:29:02.560
<v Speaker 2>Do I think?

0:29:02.760 --> 0:29:05.080
<v Speaker 1>No? No? No, I mean we agreed to not do that.

0:29:05.160 --> 0:29:08.120
<v Speaker 1>I mean, I mean, really it is. I think it's

0:29:08.440 --> 0:29:12.000
<v Speaker 1>a satire, isn't it. I don't know, man, I think

0:29:12.240 --> 0:29:15.800
<v Speaker 1>I like American life and family and stuff.

0:29:16.000 --> 0:29:18.320
<v Speaker 2>Yeah, I mean I can definitely see that, Like, I

0:29:18.320 --> 0:29:20.640
<v Speaker 2>definitely see where you're coming from. I don't know. I

0:29:20.680 --> 0:29:25.480
<v Speaker 2>always kind of associate satire almost exclusively with like having

0:29:25.520 --> 0:29:30.320
<v Speaker 2>a really important message, which is why to me, it

0:29:30.960 --> 0:29:35.200
<v Speaker 2>takes that important message and kind of uses it to

0:29:35.280 --> 0:29:37.400
<v Speaker 2>deflate any true feelings about it.

0:29:37.600 --> 0:29:42.760
<v Speaker 1>Oh interesting, okay, like social satire. Yeah yeah, all right, yeah,

0:29:42.800 --> 0:29:43.080
<v Speaker 1>Like I.

0:29:43.000 --> 0:29:45.120
<v Speaker 2>Get where it's coming from too, where it's saying like, hey,

0:29:45.120 --> 0:29:47.320
<v Speaker 2>we need to let more people know about this. A

0:29:47.320 --> 0:29:52.959
<v Speaker 2>good example is, oh, who was it? I think as

0:29:53.040 --> 0:29:57.240
<v Speaker 2>Jonathan Swift, the pamphleteer or essayist. I think he came

0:29:57.320 --> 0:30:00.160
<v Speaker 2>up with a modest proposal in seventeen twenty nine, and

0:30:00.160 --> 0:30:03.080
<v Speaker 2>he'd written a bunch of essays about how the Irish

0:30:03.080 --> 0:30:06.560
<v Speaker 2>were starving and how they needed help, and he just

0:30:06.600 --> 0:30:09.240
<v Speaker 2>got crickets in return. And then he wrote a modest

0:30:09.240 --> 0:30:12.040
<v Speaker 2>proposal and in it he basically talks about how the

0:30:12.080 --> 0:30:14.400
<v Speaker 2>Irish just need to eat their babies and that will

0:30:14.400 --> 0:30:17.440
<v Speaker 2>solve the hunger issue and a lot of other problems too.

0:30:17.720 --> 0:30:21.320
<v Speaker 2>Then he got, you know, all sorts of attention for that. Yeah, yeah,

0:30:21.360 --> 0:30:24.400
<v Speaker 2>of course he got attention for it. It's nuts in

0:30:24.440 --> 0:30:27.680
<v Speaker 2>some ways, it's funny, in some ways, it's just abhorrent,

0:30:28.080 --> 0:30:30.960
<v Speaker 2>and it's very attention getting. But how much change did

0:30:30.960 --> 0:30:34.840
<v Speaker 2>it actually affect? I don't know enough about eighteenth century

0:30:34.920 --> 0:30:37.640
<v Speaker 2>Irish history to tell you how much change it affected,

0:30:37.960 --> 0:30:41.960
<v Speaker 2>but based on my understanding of satire over the years,

0:30:42.040 --> 0:30:46.560
<v Speaker 2>especially socio political satire. It probably didn't actually have that

0:30:46.680 --> 0:30:49.880
<v Speaker 2>much effect aside from making more people aware of it.

0:30:50.160 --> 0:30:54.520
<v Speaker 2>But does that actually make things change? That's my question.

0:30:55.160 --> 0:30:59.040
<v Speaker 1>Yeah, that's a good question. I think the proponents of

0:30:59.040 --> 0:31:03.040
<v Speaker 1>satire would say just getting the conversation around it going

0:31:03.120 --> 0:31:06.840
<v Speaker 1>is the point, and the change comes because of those conversations.

0:31:06.840 --> 0:31:09.840
<v Speaker 1>But I'm not taking a stance either way. I see

0:31:09.840 --> 0:31:11.000
<v Speaker 1>your point fair enough.

0:31:11.400 --> 0:31:14.560
<v Speaker 2>And at the same time, one last thing. My position

0:31:14.720 --> 0:31:16.360
<v Speaker 2>isn't that we all just need to put up with

0:31:16.400 --> 0:31:18.800
<v Speaker 2>the status quo. Oh sure, that's what I'm saying. Like

0:31:18.840 --> 0:31:23.680
<v Speaker 2>satire inadvertently can make the status quote continue on when

0:31:23.680 --> 0:31:24.280
<v Speaker 2>it shouldn't.

0:31:24.920 --> 0:31:29.080
<v Speaker 1>Yeah, you're talking about getting some bricks and baseball bats. Yeah,

0:31:29.120 --> 0:31:30.960
<v Speaker 1>and really doing something that's.

0:31:30.800 --> 0:31:34.480
<v Speaker 2>Right, taking it to the streets. As Michael McDonald.

0:31:34.120 --> 0:31:39.760
<v Speaker 1>Said, Uh, camp is another sort of irony, and that's

0:31:39.800 --> 0:31:40.680
<v Speaker 1>a little more of the.

0:31:43.400 --> 0:31:43.560
<v Speaker 2>Hate.

0:31:43.600 --> 0:31:45.080
<v Speaker 1>I mean, I love camp, so I hate to lump

0:31:45.120 --> 0:31:47.160
<v Speaker 1>it in with the hipster irony. But that's kind of

0:31:47.200 --> 0:31:49.840
<v Speaker 1>what they're talking about, like an ironic appreciation of something.

0:31:50.600 --> 0:31:54.080
<v Speaker 1>If something is campy, that's kind of what you're talking about.

0:31:54.080 --> 0:32:00.280
<v Speaker 1>And you know, in a lot of cases, right, yeah.

0:31:59.240 --> 0:32:01.760
<v Speaker 2>John, Speaking of the Simpsons, John Waters was on The

0:32:01.800 --> 0:32:02.600
<v Speaker 2>Simpsons once.

0:32:03.120 --> 0:32:04.840
<v Speaker 1>Oh yeah, I remember that one he gave.

0:32:05.360 --> 0:32:08.960
<v Speaker 2>He gave a throwaway a definition of camp. He said,

0:32:09.280 --> 0:32:14.720
<v Speaker 2>the tragically ludicrous, the ludicrously tragic, and then Homer said,

0:32:14.880 --> 0:32:20.600
<v Speaker 2>oh yeah, like when a clown dies. John Waters goes, well,

0:32:20.800 --> 0:32:22.320
<v Speaker 2>sort of, that's funny.

0:32:22.520 --> 0:32:24.960
<v Speaker 1>Yeah, all right, I think that's a good time for

0:32:24.960 --> 0:32:28.200
<v Speaker 1>a break, and we'll be right back right after.

0:32:28.080 --> 0:32:57.120
<v Speaker 2>This, okay, Chuck. So I think I said, like, I

0:32:57.160 --> 0:33:01.760
<v Speaker 2>feel like humans have like a hard wire intuition for

0:33:02.320 --> 0:33:05.200
<v Speaker 2>noticing irony, for being able to pick it out, and

0:33:05.280 --> 0:33:08.600
<v Speaker 2>it's been used as a device for a really long time,

0:33:09.320 --> 0:33:12.400
<v Speaker 2>so much so that it's been found that verbal irony

0:33:12.800 --> 0:33:18.600
<v Speaker 2>saying the opposite of what you mean is basically universal,

0:33:19.440 --> 0:33:23.520
<v Speaker 2>which is great. And kindergarten children have been shown to

0:33:23.560 --> 0:33:26.520
<v Speaker 2>be able to pick up verbal irony, like at that

0:33:26.640 --> 0:33:29.800
<v Speaker 2>young of an age. What's kindergarten age these days? Like five?

0:33:30.440 --> 0:33:34.600
<v Speaker 1>Yeah, like five or six? I think, not bad? Yeah, agreed.

0:33:35.120 --> 0:33:38.480
<v Speaker 1>I love the example Livia uses to She's like every

0:33:38.480 --> 0:33:42.120
<v Speaker 1>society comes up with ideas like nicknaming a big guy tiny, right,

0:33:42.600 --> 0:33:44.000
<v Speaker 1>But I love that I mean that is sort of

0:33:44.000 --> 0:33:47.239
<v Speaker 1>a universal thing. Like I love the idea that in

0:33:47.280 --> 0:33:52.440
<v Speaker 1>any culture if you had like a very large person

0:33:53.120 --> 0:33:55.880
<v Speaker 1>and their nickname was whatever that word is in their

0:33:55.960 --> 0:33:58.440
<v Speaker 1>language for like small or tiny, and like everyone gets

0:33:58.520 --> 0:33:58.920
<v Speaker 1>that joke.

0:33:59.240 --> 0:34:02.280
<v Speaker 2>Yeah exactly. So, yeah, it is universal, and it's been

0:34:02.400 --> 0:34:06.600
<v Speaker 2>used as a device long before anybody identified it what

0:34:06.680 --> 0:34:11.640
<v Speaker 2>irony was. Like. Remember, Oedipis Rex was written long before Irony,

0:34:11.760 --> 0:34:13.839
<v Speaker 2>even though I was dripping with irony. So that in

0:34:13.880 --> 0:34:16.759
<v Speaker 2>and of itself kind of shows that it's definitely been

0:34:16.800 --> 0:34:21.080
<v Speaker 2>a part of human communication and I guess human understanding

0:34:21.120 --> 0:34:25.480
<v Speaker 2>of the world for from time imorial.

0:34:26.120 --> 0:34:28.560
<v Speaker 1>Yeah, for sure. She gives a lot of examples. One

0:34:28.560 --> 0:34:31.000
<v Speaker 1>of my favorites here is and I think we've talked

0:34:31.000 --> 0:34:36.520
<v Speaker 1>about the huang Xi before the Taoist text, and this

0:34:36.600 --> 0:34:39.120
<v Speaker 1>was in like fourth century bcees it was a very

0:34:39.120 --> 0:34:41.120
<v Speaker 1>long time ago, and there was a story about a

0:34:41.120 --> 0:34:43.360
<v Speaker 1>tree that was so twisted and gnarl that it couldn't

0:34:43.360 --> 0:34:46.920
<v Speaker 1>be used for lumber, so it was useless, and because

0:34:46.920 --> 0:34:49.479
<v Speaker 1>it was so useless, it lived a very long life

0:34:49.520 --> 0:34:53.120
<v Speaker 1>as a tree, which is like that was the tree's

0:34:53.160 --> 0:34:54.720
<v Speaker 1>purpose in use, you know, right there.

0:34:55.800 --> 0:34:58.680
<v Speaker 2>I think that disproves my everything is funny in some way.

0:34:58.800 --> 0:35:02.239
<v Speaker 1>Theory though, well, that that's the jhuang Zi from Force

0:35:02.320 --> 0:35:05.160
<v Speaker 1>Entry BC, not a noted comedic dome.

0:35:06.560 --> 0:35:10.840
<v Speaker 2>There's trickster stories also, are always dripping with irony, and

0:35:10.880 --> 0:35:15.200
<v Speaker 2>they are super duper old Tom so well, way older

0:35:15.200 --> 0:35:16.920
<v Speaker 2>than Tom Sawyer. But the one that always comes to

0:35:16.960 --> 0:35:21.480
<v Speaker 2>mind for me is Tom Sawyer using reverse psychology to

0:35:21.680 --> 0:35:25.120
<v Speaker 2>trick his friends into taking over painting the fence for

0:35:25.200 --> 0:35:27.000
<v Speaker 2>him because he talks about how much fun it is

0:35:27.040 --> 0:35:29.080
<v Speaker 2>and he doesn't want to share. So now all of

0:35:29.120 --> 0:35:31.120
<v Speaker 2>a sudden, they all want to paint, so he just

0:35:31.560 --> 0:35:33.919
<v Speaker 2>gets to sit back and kind of laugh at him.

0:35:34.640 --> 0:35:39.879
<v Speaker 2>That is really old archetype. I think Joseph Campbell even

0:35:39.920 --> 0:35:44.160
<v Speaker 2>talked about that. Yeah, whole Mythology series, which I've not seen,

0:35:44.520 --> 0:35:48.920
<v Speaker 2>have you uh nold to watch it together?

0:35:49.120 --> 0:35:50.759
<v Speaker 1>He knew a thing or two about archetypes.

0:35:51.400 --> 0:35:51.759
<v Speaker 2>He did.

0:35:51.800 --> 0:35:57.400
<v Speaker 1>He was he was an archetype type archetypist. Don Quixote,

0:35:57.400 --> 0:36:00.960
<v Speaker 1>you knows, of course, is maybe the first modern There's

0:36:01.000 --> 0:36:04.480
<v Speaker 1>a lot of irony in that. The biggest one is

0:36:04.719 --> 0:36:08.600
<v Speaker 1>just that Quixodi himself is a very elevated sort of

0:36:08.760 --> 0:36:12.479
<v Speaker 1>ideas about his adventures and the reader knows the whole

0:36:12.480 --> 0:36:16.279
<v Speaker 1>time like this guy, it's got that kind of thing.

0:36:16.320 --> 0:36:18.560
<v Speaker 1>So that's that's also sort of dripping with irony.

0:36:19.200 --> 0:36:23.320
<v Speaker 2>Yeah, my favorite ironist of all time is Oh Henry.

0:36:23.920 --> 0:36:26.480
<v Speaker 2>He was, yeah, well known as the master of like

0:36:26.520 --> 0:36:29.960
<v Speaker 2>the ironic twist, like the Gift of the Magi and

0:36:30.120 --> 0:36:32.839
<v Speaker 2>getting better than that, you know, Yeah, I mean that's

0:36:32.920 --> 0:36:35.360
<v Speaker 2>just the one that everyone's read, Like every one of

0:36:35.400 --> 0:36:38.440
<v Speaker 2>his stories has an ironic twist to it, and you

0:36:38.520 --> 0:36:41.120
<v Speaker 2>know it's coming, and he's so good at it, you

0:36:41.320 --> 0:36:45.160
<v Speaker 2>very rarely can see what's coming, but it's never you know,

0:36:45.239 --> 0:36:47.840
<v Speaker 2>quickly assembled at the end out of whatever parts are

0:36:47.880 --> 0:36:50.280
<v Speaker 2>at hand, like it's it's the point of the story

0:36:50.320 --> 0:36:53.200
<v Speaker 2>all the way along. He was just a master of it.

0:36:53.719 --> 0:36:55.480
<v Speaker 2>And then another one that always stands out to me

0:36:55.600 --> 0:36:56.560
<v Speaker 2>is the Monkey's paw.

0:36:58.040 --> 0:36:59.799
<v Speaker 1>Yeah, do you do?

0:36:59.840 --> 0:37:01.360
<v Speaker 2>You you remember that one?

0:37:02.000 --> 0:37:04.520
<v Speaker 1>I remember a little bit about it. I remember being scary,

0:37:04.600 --> 0:37:07.520
<v Speaker 1>like the monkeys Paul moves in your hand or something. Yeah.

0:37:07.600 --> 0:37:10.560
<v Speaker 2>Yeah, granted wishes, but those wishes always came with an

0:37:10.560 --> 0:37:14.960
<v Speaker 2>ironic consequence, like right, the father wishes for one hundred

0:37:14.960 --> 0:37:18.640
<v Speaker 2>pounds sterling and he gets it, but it's as compensation

0:37:18.760 --> 0:37:22.680
<v Speaker 2>because his son died at a factory. So like all

0:37:22.719 --> 0:37:25.400
<v Speaker 2>of the wishes, the way that they're granted are in

0:37:25.560 --> 0:37:28.719
<v Speaker 2>ironic twists that don't pan out very well for the

0:37:28.760 --> 0:37:29.680
<v Speaker 2>family involved.

0:37:30.160 --> 0:37:33.080
<v Speaker 1>Yeah, and sometimes that's funny, but a lot of times

0:37:33.080 --> 0:37:35.759
<v Speaker 1>it's tragic. Like I don't know if the gift of

0:37:35.800 --> 0:37:39.560
<v Speaker 1>the Magi was supposed to be funny. Yeah, good point,

0:37:39.840 --> 0:37:42.600
<v Speaker 1>you know, but yeah, lots of ironic to us. I

0:37:42.600 --> 0:37:46.960
<v Speaker 1>guess he was the m Knight Shammelin of the literary world.

0:37:47.160 --> 0:37:47.640
<v Speaker 2>That's right.

0:37:48.440 --> 0:37:50.279
<v Speaker 1>There is something to that though, if you're known for

0:37:50.320 --> 0:37:52.120
<v Speaker 1>something like when you go see the m Night movies,

0:37:52.360 --> 0:37:53.920
<v Speaker 1>you're just waiting for it, you know.

0:37:54.040 --> 0:37:56.680
<v Speaker 2>Yeah, but he's like, oh, Henry, Like you don't really

0:37:56.719 --> 0:37:57.640
<v Speaker 2>see it coming.

0:37:58.600 --> 0:38:00.799
<v Speaker 1>You know. Sometimes some are better than others.

0:38:01.200 --> 0:38:03.680
<v Speaker 2>I will watch every single one of that guy's movies.

0:38:04.400 --> 0:38:05.360
<v Speaker 2>I love them.

0:38:05.560 --> 0:38:08.360
<v Speaker 1>Yeah, I mean they're entertaining. Did you finally see the

0:38:08.400 --> 0:38:10.960
<v Speaker 1>one at the concert the pop star? I did?

0:38:11.200 --> 0:38:13.839
<v Speaker 2>That was his daughter who directed it? Right? No?

0:38:13.719 --> 0:38:15.880
<v Speaker 1>No, no, he directed it, so he did. She was

0:38:15.920 --> 0:38:16.319
<v Speaker 1>in it.

0:38:16.400 --> 0:38:17.560
<v Speaker 2>Oh she was the pop star?

0:38:17.960 --> 0:38:18.400
<v Speaker 1>Yeah?

0:38:18.480 --> 0:38:21.960
<v Speaker 2>Okay, yeah it was. It was entertaining and it went

0:38:22.080 --> 0:38:23.839
<v Speaker 2>just totally nuts. At the end, didn't it.

0:38:24.440 --> 0:38:26.279
<v Speaker 1>Yeah, I mean I thought it was a very fun

0:38:26.360 --> 0:38:26.920
<v Speaker 1>bad movie.

0:38:27.920 --> 0:38:28.320
<v Speaker 2>Yeah.

0:38:28.800 --> 0:38:29.000
<v Speaker 1>Yeah.

0:38:29.040 --> 0:38:31.400
<v Speaker 2>I wouldn't say all of his movies are bad movies,

0:38:31.440 --> 0:38:33.960
<v Speaker 2>but he has made some bad movies. But yes, agreed,

0:38:34.000 --> 0:38:34.840
<v Speaker 2>they're all fun.

0:38:35.360 --> 0:38:39.000
<v Speaker 1>Yeah, I didn't see the last one, old or whatever.

0:38:39.320 --> 0:38:43.160
<v Speaker 2>It's good. Yeah, I mean it's an m Night Shawmala movie.

0:38:43.160 --> 0:38:46.960
<v Speaker 2>It's a little like a bottle episode. It's a little okay,

0:38:47.320 --> 0:38:50.200
<v Speaker 2>it all takes place on this beach, almost entirely takes

0:38:50.239 --> 0:38:52.720
<v Speaker 2>place on this beach, and that gets a little old

0:38:52.719 --> 0:38:55.600
<v Speaker 2>as it were, but you know, it still moves along

0:38:55.600 --> 0:38:56.280
<v Speaker 2>pretty quickly.

0:38:56.719 --> 0:38:59.120
<v Speaker 1>Yeah. And I remember early in his career when it

0:38:59.200 --> 0:39:02.120
<v Speaker 1>was like he was the with Sky and Seeing and

0:39:02.160 --> 0:39:04.640
<v Speaker 1>there's some spoilers coming everyone if you haven't seen these

0:39:04.760 --> 0:39:11.319
<v Speaker 1>very old movies. But when was it The Village? Yeah,

0:39:11.320 --> 0:39:13.319
<v Speaker 1>that was what it was called. Like I remember seeing

0:39:13.360 --> 0:39:16.239
<v Speaker 1>that movie and the whole time, I'm like, this is

0:39:17.120 --> 0:39:20.160
<v Speaker 1>so like gonna be revealed that it's modern times. Like

0:39:20.200 --> 0:39:21.200
<v Speaker 1>I was just waiting on it.

0:39:21.360 --> 0:39:23.960
<v Speaker 2>I had I was totally maybe that's it. Maybe I'm

0:39:24.040 --> 0:39:28.040
<v Speaker 2>just like super dupable because I had no idea that

0:39:28.120 --> 0:39:32.120
<v Speaker 2>was coming. I knew that the twist to the sixth

0:39:32.160 --> 0:39:35.400
<v Speaker 2>sense because some jackass told me before I went into it,

0:39:35.440 --> 0:39:39.040
<v Speaker 2>which is mean, and then all the other ones, I'm

0:39:39.080 --> 0:39:41.480
<v Speaker 2>like what every time, which I need to.

0:39:41.920 --> 0:39:43.560
<v Speaker 1>Did he say, hey, have you seen that new movie

0:39:43.600 --> 0:39:50.120
<v Speaker 1>where Bruce Willis is dead? The whole time? Yeah? I

0:39:50.160 --> 0:39:52.120
<v Speaker 1>don't think that makes you dupable. I think that means

0:39:52.160 --> 0:39:55.920
<v Speaker 1>you're like into it and like, can park park that stuff?

0:39:55.920 --> 0:39:59.040
<v Speaker 2>That's a good trait, Okay, as long as it's not

0:39:59.080 --> 0:40:02.439
<v Speaker 2>on the dance floor, right, no parking on the dance floor?

0:40:03.840 --> 0:40:08.319
<v Speaker 1>What else, chuck, Well, I mean we can keep going

0:40:08.320 --> 0:40:11.080
<v Speaker 1>through literary examples. Well, I mean we should probably definitely

0:40:11.120 --> 0:40:14.080
<v Speaker 1>mention catch twenty two because we'll get emails if we don't,

0:40:14.120 --> 0:40:18.240
<v Speaker 1>because that's sort of well, it's a satire, of course,

0:40:19.000 --> 0:40:21.880
<v Speaker 1>so you hate it, but it's built on it's built

0:40:21.880 --> 0:40:25.839
<v Speaker 1>on irony. The whole title is an ironic paradox in

0:40:25.880 --> 0:40:28.200
<v Speaker 1>that the catch twenty two of the film is that

0:40:28.239 --> 0:40:30.640
<v Speaker 1>anyone who wants to fly in one like a combat

0:40:30.640 --> 0:40:34.480
<v Speaker 1>mission as a pilot in war should be removed for

0:40:34.560 --> 0:40:37.600
<v Speaker 1>mental health reasons. But if you try to get out

0:40:37.600 --> 0:40:40.440
<v Speaker 1>of it by saying like I'm a Section eight or whatever,

0:40:40.600 --> 0:40:43.480
<v Speaker 1>then you're obviously sane for doing so.

0:40:43.040 --> 0:40:45.800
<v Speaker 2>So you have to fly. That's where you should be flying. Yeah,

0:40:46.000 --> 0:40:50.080
<v Speaker 2>it's a great, great ironic paradox of all time. And

0:40:50.360 --> 0:40:54.680
<v Speaker 2>so I okay, I figured out why I dislike satire,

0:40:54.719 --> 0:40:57.719
<v Speaker 2>because it hits you over the head with like this

0:40:57.920 --> 0:41:01.040
<v Speaker 2>is a problem, this is wrong. Of course it is,

0:41:01.200 --> 0:41:02.960
<v Speaker 2>like I think, that's what I don't like about it.

0:41:03.000 --> 0:41:05.000
<v Speaker 2>I already know that there's a problem with that. I

0:41:05.000 --> 0:41:07.879
<v Speaker 2>already know there's something wrong with it. I guess I've

0:41:07.880 --> 0:41:11.920
<v Speaker 2>never seen satire that I didn't already agree was a problem.

0:41:11.960 --> 0:41:14.400
<v Speaker 2>So therefore, there was never any satire that really changed

0:41:14.400 --> 0:41:15.600
<v Speaker 2>my mind about something.

0:41:15.920 --> 0:41:17.919
<v Speaker 1>Oh yeah, yeah, I get you. I get what you're saying.

0:41:18.160 --> 0:41:20.600
<v Speaker 2>Yeah. Sometimes I just have to reflect on something for

0:41:20.760 --> 0:41:22.680
<v Speaker 2>ten to fifteen minutes and then I come to the

0:41:22.719 --> 0:41:23.400
<v Speaker 2>basis of it.

0:41:23.480 --> 0:41:24.120
<v Speaker 1>Then you got it.

0:41:24.760 --> 0:41:27.080
<v Speaker 2>Uh, something that I missed that I don't know if

0:41:27.160 --> 0:41:31.080
<v Speaker 2>you noticed too. But in Fight Club, apparently it was

0:41:31.120 --> 0:41:33.279
<v Speaker 2>meant to be ironic and that like, these guys were

0:41:33.280 --> 0:41:37.560
<v Speaker 2>rebelling against society and like a conformist society, and then

0:41:37.600 --> 0:41:41.279
<v Speaker 2>in doing so they ended up creating their own fascist

0:41:41.400 --> 0:41:44.160
<v Speaker 2>society of their own club.

0:41:44.640 --> 0:41:46.320
<v Speaker 1>Yeah, super conformist.

0:41:46.640 --> 0:41:50.160
<v Speaker 2>Sure, So did you recognize that that was basically the

0:41:50.160 --> 0:41:50.960
<v Speaker 2>theme of the movie.

0:41:51.440 --> 0:41:53.480
<v Speaker 1>I don't, you know. When I saw that movie, I

0:41:53.640 --> 0:41:56.600
<v Speaker 1>was in my twenties, and so I think I was

0:41:56.680 --> 0:42:00.640
<v Speaker 1>just more like I think I just were like like

0:42:00.680 --> 0:42:02.799
<v Speaker 1>the movie at chase value and it was like, oh

0:42:02.840 --> 0:42:05.120
<v Speaker 1>my god, here we go with spoilers again. It's like,

0:42:05.160 --> 0:42:07.799
<v Speaker 1>oh my god, there was no Tyler Durdon the whole time.

0:42:07.880 --> 0:42:09.880
<v Speaker 1>Like it's just kind of like I thought it was

0:42:09.880 --> 0:42:12.880
<v Speaker 1>a cool twist. Yeah, but yeah, like being older now

0:42:12.920 --> 0:42:16.960
<v Speaker 1>and looking back, it's like, yeah, these dopes wanted to

0:42:17.239 --> 0:42:19.640
<v Speaker 1>you know, they're doing the very thing that they said

0:42:19.640 --> 0:42:21.839
<v Speaker 1>they weren't. You know, we're fighting against right.

0:42:22.080 --> 0:42:24.360
<v Speaker 2>Yeah. I was totally lost on me too. I was

0:42:24.400 --> 0:42:27.280
<v Speaker 2>too busy going like maybe I should wear like floor

0:42:27.360 --> 0:42:33.239
<v Speaker 2>length for coats and underneath it's a good look. So

0:42:33.520 --> 0:42:36.160
<v Speaker 2>I guess we can kind of get to that last point,

0:42:36.280 --> 0:42:39.839
<v Speaker 2>like whether or not irony is not a good thing.

0:42:40.160 --> 0:42:45.000
<v Speaker 2>And I think overall, if I'm tossing out my two cents,

0:42:45.000 --> 0:42:48.080
<v Speaker 2>which I've basically tossed out fifty dollars already so far,

0:42:50.239 --> 0:42:54.439
<v Speaker 2>I think cosmic in situational irony is great and there's

0:42:54.480 --> 0:42:58.160
<v Speaker 2>nothing we can do about it but appreciate it. And

0:42:58.200 --> 0:43:02.520
<v Speaker 2>then on the other hand, Billy, I've heard human created irony.

0:43:03.160 --> 0:43:06.920
<v Speaker 2>If done well, then it's great, But most of the

0:43:06.960 --> 0:43:08.520
<v Speaker 2>time it's not done very well.

0:43:09.200 --> 0:43:12.000
<v Speaker 1>Yeah, I mean. David Foster Wallace, you know, the great

0:43:12.000 --> 0:43:16.040
<v Speaker 1>writer and essayist, wrote that irony and ridicule were agents

0:43:16.080 --> 0:43:19.919
<v Speaker 1>of a great despair and stasis in US culture and

0:43:19.960 --> 0:43:24.560
<v Speaker 1>that like in the fifties and sixties, irony had like

0:43:24.760 --> 0:43:28.799
<v Speaker 1>great use in breaking down the hypocrisy of the establishment,

0:43:29.719 --> 0:43:32.520
<v Speaker 1>but since then it has sort of I think he

0:43:32.520 --> 0:43:35.680
<v Speaker 1>felt like it was overused in the literary world and

0:43:35.719 --> 0:43:39.560
<v Speaker 1>that sincerity had kind of been abandoned.

0:43:39.760 --> 0:43:42.759
<v Speaker 2>Yeah, and that even if you were being sincere, the

0:43:42.840 --> 0:43:46.040
<v Speaker 2>reader wouldn't recognize it because they were so primed to

0:43:46.280 --> 0:43:49.640
<v Speaker 2>write things as ironic. Right, So he had a really

0:43:49.680 --> 0:43:54.359
<v Speaker 2>good point, like JEDIXX really hammered the ironic thing home,

0:43:54.400 --> 0:43:58.000
<v Speaker 2>and part of it was elevating yourself above other people

0:43:58.080 --> 0:44:00.960
<v Speaker 2>who just kind of accepted things as they were and

0:44:01.080 --> 0:44:05.000
<v Speaker 2>couldn't see the reality of something right. And there was

0:44:05.080 --> 0:44:08.200
<v Speaker 2>a backlash to that what was called the Death of irony,

0:44:08.280 --> 0:44:14.160
<v Speaker 2>which lasted about ten years, where people like Dave Eggers

0:44:14.239 --> 0:44:17.680
<v Speaker 2>came along and were like, no, I'm earnest I really

0:44:17.680 --> 0:44:20.640
<v Speaker 2>am just gonna share everything, wear my heart on my sleeve,

0:44:20.719 --> 0:44:23.080
<v Speaker 2>and you're gonna suck it all down whether you like

0:44:23.120 --> 0:44:27.120
<v Speaker 2>it or not. And it came across as smarmy to

0:44:27.200 --> 0:44:29.839
<v Speaker 2>a lot of people. A lot of people consider Dave

0:44:29.880 --> 0:44:34.719
<v Speaker 2>Ager's work is very smarmy, where it's forced earnestness or

0:44:34.840 --> 0:44:38.440
<v Speaker 2>forced sincerity and it clubs you over the head with it.

0:44:38.880 --> 0:44:41.839
<v Speaker 2>And there's actually a gen z term now for that

0:44:41.920 --> 0:44:47.239
<v Speaker 2>little period through you know, the early twenty tens where

0:44:47.280 --> 0:44:53.000
<v Speaker 2>that kind of smarminess was very popular, I guess, especially

0:44:53.080 --> 0:44:53.800
<v Speaker 2>in literature.

0:44:54.400 --> 0:45:01.120
<v Speaker 1>Yeah, has that millennial cringe. That's the zinger that is

0:45:01.160 --> 0:45:06.319
<v Speaker 1>a singer. Yeah, I mean again, back to the generational

0:45:06.440 --> 0:45:08.440
<v Speaker 1>look at things. I'm a big fan of Beggers, by

0:45:08.440 --> 0:45:10.040
<v Speaker 1>the way, I just want to say that out loud.

0:45:10.120 --> 0:45:10.680
<v Speaker 2>Okay, great.

0:45:11.680 --> 0:45:13.320
<v Speaker 1>I haven't read the most stuff, but I've read a

0:45:13.320 --> 0:45:15.640
<v Speaker 1>couple of his books and I like them both. I was.

0:45:15.880 --> 0:45:17.879
<v Speaker 2>I liked McSweeney's humor a lot for a.

0:45:17.800 --> 0:45:21.439
<v Speaker 1>While, Yeah, for sure. And he does great work through

0:45:22.360 --> 0:45:26.560
<v Speaker 1>his charity eight twenty six Valencia and eight twenty six

0:45:26.640 --> 0:45:28.759
<v Speaker 1>National I did a thing recently for them. I read

0:45:28.800 --> 0:45:32.560
<v Speaker 1>a I read like a passage from a book that

0:45:32.640 --> 0:45:37.000
<v Speaker 1>a kid wrote through his charity, and it was cool.

0:45:37.280 --> 0:45:38.240
<v Speaker 1>They did good horrible?

0:45:38.480 --> 0:45:39.719
<v Speaker 2>Yeah, was it any good?

0:45:40.400 --> 0:45:41.120
<v Speaker 1>Yeah? It was good.

0:45:41.280 --> 0:45:45.879
<v Speaker 2>Okay, good because they don't publish bad kids books.

0:45:45.800 --> 0:45:48.759
<v Speaker 1>That's right. Yeah, But back to millennial cringe. That's what

0:45:48.800 --> 0:45:50.920
<v Speaker 1>gen Z is about, right, Yeah, And we.

0:45:50.920 --> 0:45:53.240
<v Speaker 2>Should kind of wrap it up with gen Z because

0:45:53.280 --> 0:45:56.080
<v Speaker 2>they have come up with their own version of irony.

0:45:56.520 --> 0:45:59.520
<v Speaker 2>They're pretty preoccupied with it too, but they've taken it

0:45:59.560 --> 0:46:04.840
<v Speaker 2>to such a degree that it's become absurdism rather than irony.

0:46:05.200 --> 0:46:09.279
<v Speaker 2>Whereas irony is very very well defined. It either is

0:46:09.400 --> 0:46:12.719
<v Speaker 2>or it isn't ironic, whatever the thing is. Gen Z

0:46:12.920 --> 0:46:15.200
<v Speaker 2>just mashes all sorts of stuff up and you can't

0:46:15.200 --> 0:46:19.000
<v Speaker 2>tell whether they're supposed to be ironic or not by

0:46:19.000 --> 0:46:19.640
<v Speaker 2>the end of it.

0:46:20.360 --> 0:46:22.520
<v Speaker 1>Maybe that's their aim, confuse the olds.

0:46:23.040 --> 0:46:24.680
<v Speaker 2>Yeah, and they do a good job of it. There's

0:46:25.080 --> 0:46:29.160
<v Speaker 2>it's called meta irony, where if you're an outsider looking in,

0:46:29.280 --> 0:46:32.120
<v Speaker 2>especially if you're not in the gen Z age group,

0:46:32.200 --> 0:46:36.239
<v Speaker 2>so you're not tapped into what's going on. We we

0:46:36.320 --> 0:46:38.320
<v Speaker 2>have a tendency to really kind of read into stuff

0:46:38.320 --> 0:46:40.359
<v Speaker 2>and try to find the answer to whatever the thing

0:46:40.440 --> 0:46:42.839
<v Speaker 2>is or understand it. Yeah, and if you do that

0:46:42.880 --> 0:46:46.480
<v Speaker 2>with like gen z meta ironic stuff or memes or whatever,

0:46:46.560 --> 0:46:51.400
<v Speaker 2>it's that there, there's that. That'd be madness. There be madness.

0:46:52.600 --> 0:46:53.600
<v Speaker 1>Madness. I like that better.

0:46:54.920 --> 0:46:56.600
<v Speaker 2>Yeah. I feel like I've been hanging on by my

0:46:56.640 --> 0:46:59.400
<v Speaker 2>fingernails this whole episode, and I hate those.

0:46:59.760 --> 0:47:01.600
<v Speaker 1>Well. Well, I mean this is a tough one. Again.

0:47:01.640 --> 0:47:03.600
<v Speaker 1>It's hard to define irony and it's hard to talk

0:47:03.680 --> 0:47:04.880
<v Speaker 1>forty five minutes about.

0:47:04.680 --> 0:47:07.520
<v Speaker 2>It, which is why we talked forty eight minutes about

0:47:08.080 --> 0:47:10.359
<v Speaker 2>good point. You got anything else?

0:47:10.600 --> 0:47:11.319
<v Speaker 1>I have nothing else.

0:47:11.480 --> 0:47:14.279
<v Speaker 2>All right, Well that's it for irony, everybody, and that

0:47:14.320 --> 0:47:15.440
<v Speaker 2>means it's time for listener.

0:47:15.520 --> 0:47:21.000
<v Speaker 1>May Hey, guys love the podcast, look forward to new episodes.

0:47:21.000 --> 0:47:23.760
<v Speaker 1>I wanted to mention a couple of clarifications. The first

0:47:23.760 --> 0:47:28.279
<v Speaker 1>one from the White Boy Rick episode was the pronunciation

0:47:28.320 --> 0:47:32.480
<v Speaker 1>of his last name to pronounce worshe as in Hershey,

0:47:32.480 --> 0:47:35.280
<v Speaker 1>I don't remember what we said. I don't either, Okay,

0:47:35.719 --> 0:47:39.960
<v Speaker 1>it's worshy. The second was Josh kept saying the phrase

0:47:40.000 --> 0:47:43.839
<v Speaker 1>East Detroit, White Boy Rick, the Curry Brothers, etc. Were

0:47:43.840 --> 0:47:46.400
<v Speaker 1>based out of the east side of Detroit at the

0:47:46.400 --> 0:47:49.080
<v Speaker 1>time of their prominence in the drug trade. We mentioned

0:47:49.080 --> 0:47:51.440
<v Speaker 1>this because there was a city just north of Detroit

0:47:51.640 --> 0:47:55.080
<v Speaker 1>called East Detroit. They're not the same place. In fact,

0:47:55.080 --> 0:47:57.520
<v Speaker 1>the city of East Detroit even voted to change their

0:47:57.600 --> 0:48:01.439
<v Speaker 1>name to East Point due to confus and negative connotations

0:48:01.480 --> 0:48:04.960
<v Speaker 1>about the East side of Detroit. Well, keep up the

0:48:04.960 --> 0:48:06.640
<v Speaker 1>great work. We can heard from a couple of people.

0:48:06.640 --> 0:48:09.960
<v Speaker 1>But that is from Mike in East Point, Michigan.

0:48:10.320 --> 0:48:14.200
<v Speaker 2>Nice. Thanks a lot, Mike. We appreciate that. Of course,

0:48:14.239 --> 0:48:17.560
<v Speaker 2>there was an East Detroit, right, Yeah.

0:48:17.280 --> 0:48:21.760
<v Speaker 1>Well, it's like East Atlanta is an actual neighborhood in Atlanta,

0:48:21.920 --> 0:48:24.520
<v Speaker 1>which is east of Atlanta. But it's still not the

0:48:24.520 --> 0:48:26.080
<v Speaker 1>same as saying the east side of Atlanta.

0:48:26.440 --> 0:48:29.600
<v Speaker 2>No, and I think there's an East Point around Atlanta too, right,

0:48:30.640 --> 0:48:31.680
<v Speaker 2>thinking of Athens.

0:48:31.920 --> 0:48:34.520
<v Speaker 1>No, no, no, there's an East Point. Okay, but I believe

0:48:34.560 --> 0:48:38.640
<v Speaker 1>East Point is south. Isn't that down near the airport?

0:48:39.000 --> 0:48:41.680
<v Speaker 2>I don't know. I have blood trickling out of my ears.

0:48:42.280 --> 0:48:44.120
<v Speaker 1>All right, let's just wrap it up, Okay.

0:48:44.640 --> 0:48:45.839
<v Speaker 2>Well, who was that from.

0:48:46.040 --> 0:48:46.600
<v Speaker 1>That's from Mike.

0:48:47.120 --> 0:48:49.320
<v Speaker 2>All right, Mike, thank you very much for that email.

0:48:49.360 --> 0:48:51.279
<v Speaker 2>We appreciate it. And if you want to be like

0:48:51.360 --> 0:48:55.040
<v Speaker 2>Mike and send us well an email address, it to

0:48:55.520 --> 0:49:02.120
<v Speaker 2>stuff podcast at iHeartRadio dot com.

0:49:02.280 --> 0:49:05.160
<v Speaker 1>Stuff you Should Know is a production of iHeartRadio. For

0:49:05.239 --> 0:49:09.440
<v Speaker 1>more podcasts my heart Radio, visit the iHeartRadio app, Apple Podcasts,

0:49:09.560 --> 0:49:11.400
<v Speaker 1>or wherever you listen to your favorite shows.