The Joke (Definitive Version)
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First, the website that conducted the poll, Ship of Fools, did not attribute me as the author. Arghhhhh! Sure, it has been quite a while since I performed it. And true, I'm not on TV all the time like some comedians I could name if I watched TV all the time. But come on, guys! The slightest Google search! But back in the day ... ah, my friends! That joke and I astounded the world! Everywhere I played, in the largest of British theatres, the audiences clamoured for it! I told it not once but twice on British television. A few years ago it was voted by my peers as one of the top 75 jokes of all time. It has been anthologized in several joke books, most recently in Italian; the translator gave me a copy a few weeks ago after one of my shows. He pointed the joke out, without telling me which it was ... but I immediately recognised my old friend by the word "ponte".
Second, I learned why Ship of Fools was running the poll ... to shed light on the possible effect if the British government goes ahead with its intention to outlaw "offensive" religious jokes. Such a law would be a bad idea, for the simple reason that jokes are how we humans avoid violence. Jokes are our safety-release mechanism. Sure they can sometimes be offensive. So can burps. But if you ban them even worse results happen. And believe me, if someone tells a joke that truly offends, he or she will be punished for it. That's one area for sure where the government can take it easy and relax.
The Joke (Czech: Žert) is Milan Kundera's first novel, originally published in 1967. It describes how a student's private joke derails his life, and the entwined stories of his lovers and friends grappling with the shifting roles of folk traditions and religion under Communist Czechoslovakia.
The novel opens with Ludvik back in his hometown in Moravia for the first time in years, startled to recognize the woman cutting his hair, though neither acknowledges the other. He reflects on the joke that changed his life in the early 1950s over the next several chapters of flashback. Ludvik was a dashing, witty, and popular student who, like most of his friends, supported the still-young Communist regime. During their summer break, a girl in his class wrote to him about "optimistic young people filled through and through with the healthy spirit" of Marxism; he replied caustically, "Optimism is the opium of mankind! A healthy spirit stinks of stupidity! Long live Trotsky!"
The first English translation was published in London in 1969. Kundera was dismayed to realize it was heavily modified and abridged, with a different number of parts; unable to leave the country, he complained in a letter to the Times Literary Supplement. A second English translation was published in New York soon after, which respected the sequence of parts but still shortened many. Kundera's complaints resulted in an unabridged third translation in 1970, but he remained unhappy with the style.[3] After Michael Henry Heim translated Kundera's The Book of Laughter and Forgetting, he was enlisted for a fourth English translation, published in 1982, which Kundera referred to as "the first valid and authentic version."[4] But he had not read the translation carefully; when his editor Aaron Asher suggested republishing The Joke, they collaborated on a methodical word-by-word revision, resulting in the publication of a fifth, "definitive," English translation in 1992.[3]
Batman's attempts to locate Commissioner Gordon are unsuccessful until the Joker sends him an invitation to the amusement park. Though traumatized by his ordeal, Gordon retains his sanity and moral code, and insists that Batman capture the Joker "by the book" to "show him that our way works". Batman dodges a series of booby traps while the Joker tries to persuade his nemesis that the world is a "black, awful joke" that is not worth fighting for, and it only takes "one bad day" to drive an ordinary man insane.
Batman subdues the Joker and tells him that Gordon is as sane as ever, and the Joker is alone in his madness. He offers to help the Joker rehabilitate in order to end their everlasting war, which Batman fears may one day result in a fight to the death. The Joker apologetically declines, saying it is too late for that. He says that the situation reminds him of a joke about two inmates in an asylum who try to escape. Batman chuckles at the joke's punchline, and as the two old foes share a laugh, he grabs the Joker as police arrive.
The Grand Theft Auto games are full of jokes - or, as I like to call them, "jokes". I'm referring to the series' habit of replacing words in signs and company names with rude soundalikes or double entendres.
These jokes have been restored by GTA: The Trilogy - Definitive Edition's latest patch, which corrects spelling on signage, puts the hard angles back on the Tuff Nut logo, and stops it raining indoors quite so often.
Several of GTA's joke signs were broken by the Definitive Edition, which seemed to upscale textures and auto-replace text with inconsistent results. A music shop's advertised "Air Guitars" became "AR Guitars", and their "Guitarwank Booths" became "Guitarhenk booths". Shaft Hot Dogs' slogan, meanwhile, mistook a low-res M for an H, and became "The Taste Of A Real Man's Heat."
I will praise the GTA series endlessly for its sharp social satire, but when it comes to jokes like these that are so cruel and strangely prominent, I have to wonder what, exactly, the writers were trying to say with them. Were they just cheap throwaway gags written during different times, or do they represent something darker
On the bright side it's a sign that most fighting games from last gen are getting their new versions ready. It's going to be really weird playing a fighting game that isn't SFV but looking forward to what they got planned for the next gen.
@huyi But when you get a PS5 you have the PS5 versions there waiting, when i got my PS5 it was nice already having PS5 versions of various games i owned like AC Vahalla or Doom Eternal. PS5 versions aren't making prices go up at all unless the PS5 version is part of a SE like what Sony is trying to pull so your comment doesn't really make sense.
John Mulaney: Kid Gorgeous at Radio City is a stand up comedy triumph. Every joke is meticulously written and every punchline is served with a twinkle of mischief. But at about 44 minutes, 12 seconds into the Netflix special, John Mulaney starts what might be the first truly great political bit of the Trump era.
The voice acting is also well done. Every character sounds exactly how I would think they would. The lines were performed well; every quip with a perfect deadpan or sarcastic tone to match the joke left me with at least a good chuckle.
Accepting this makes the discourse in all its variants predictable. Of course, right-wing pundits are seizing upon Rock's jokes about abortion, corporate virtue signaling and Meghan Markle, all preceded by his invocation of their beloved term "wokeness," as evidence that he's one of them now, or some grand sign that a cultural reckoning is coming.
Its success established him as a peer to Eddie Murphy and Bill Cosby and the talent for Black comics to look to for guidance and influence. And he's been spinning off versions of that set's style and content pretty much ever since. This is not to imply that takes pointing out the misogynoir in Rock's latest shot are wrong, but rather to remind folks that he's been this way for a long time.
Indeed, the only thing that's fundamentally changed about that version of Chris Rock and the one who delivered the mid-level humor of "Selective Outrage" is that yesterday's version cared about entertaining the folks who were shelling out $25 bucks (which, in 1996, was a lot!) to see him.
Meanwhile, Rock remained silent. In his first live show, which took place in Boston days after the telecast, he would only say that he was still processing what happened. "At some point I'll talk about that s***, he told his audience, "And it'll be serious and it'll be funny, but right now I'm going to tell some jokes."
This is why an extended foray into his personal life, telling a story about how easy his daughters have it compared to his upbringing, fell flat. This segment was to humanize him as a regular father with kids who don't know how good they have it. Except for the fact that jokes like the one with his daughter replying to her grade school teacher's announcement that they would be learning about the four seasons with, "That's my favorite hotel!" have limited relatability.
Cut to Saturday, when he managed to pull off a callback to his antique O.J. Simpson joke by connecting it to the Kardashians. On some level that was clever since Rock couched the joke in a way that condemned Kanye West by association without ever actually saying his name. Then again, the Kardashians and O.J. are frequent flyer punchlines so common that they barely rate in late-night monologues.
Somehow it's supposed to make a difference that Rock is the one making the joke, which is implied by his mic-dropping exit where he claims to be better than Smith by not fighting in front of white people on Oscars night. What is "Selective Outrage" if not expressly that
Netflix sold the show as if it were steak when, at best, we were only ever going to get a McDonald's hamburger. Now, is that an acceptable, solid substitution for the best version of his work To some, sure. Many people even prefer fast food. Others may never be able to silence the voice in our heads reminding us that the kitchen is capable of better.
We've seen various versions of the Joker on the big and small screens both live action and animated. Right now, Barry Keoghan from The Batman holds the mantle, but you know it's only a matter of time before a new actor will barrel down on us with a new approach to murderous man who laughs. In the meantime, enjoy this list of the eight best versions of the grimacing villain. 59ce067264