#it's even funnier with law because he's the *straight man* serious character whatever

[creamiceandsugar]

the kid, law and luffy interactions bring me such joy because it'll just be

captain: no i have to do this stupid thing because otherwise They'll win

crew members: win WHAT

captain:

[britesparc]

Weekend Top Ten #455

Top Ten Comedy Sidekicks

Ha, LOL, ROFL, guffaw, snort. Comedy, eh? You’ve got to love it, unless you somehow fall through a timewarp into a late-seventies working men’s club in Blackburn and you find yourself choking to death on second-hand smoke, mother-in-law jokes, and a simmering undercurrent of racist violence. Good times!

Anyway, it’s fairly common that even in the most serious of narratives and with the most serious of protagonists, we need a little chuckle very now and again (nobody tell Zack Snyder – actually, no, scratch that, somebody definitely tell Zack Snyder). It lightens the load, makes the world more nuanced and realistic, and even makes the truly dark moments stand out all the stronger. Most films have a bit of a joke every once in a while (and, of course, Shakespeare’s tragedies are full of comic characters or bits of business), and one very common trope is the Comedy Sidekick.

What is a Comedy Sidekick? Well, it’s a supporting character who offers comic relief, basically. sometimes this can be obviously discernible – Luis in Ant-Man, for example, may function as a plot engine from time to time, but has little in the way of actual character development and is mostly there to be funny whilst the heroes do hero stuff. Sometimes it’s harder to define; I mean, are either of the Blues Brothers a comedy sidekick? Arguably Jake is the lead and Elwood is a bit more of a “turn” (he’s almost eternally deadpan and unemotional), but I’d never say one was inherently funnier or “straighter” than the other. And the you get onto films like Aladdin: sure, Aladdin himself is obviously the protagonist, and there’s an argument to be made that the Genie is a comic relief supporting character, but I feel in this case he’s far too integral to the plot, played by a significantly more famous actor, and really just dominates the film to the extent that he becomes the de facto lead (see also: Captain Jack Sparrow). Again, in Men in Black, Will Smith’s J is clearly the “funny” one, but Smith is also the bigger star and the audience entry point; plus, Tommy Lee Jones is hilarious as the deadpan K. So it’s not as simple as it may first appear.

Anyway, the ten in this list are ones I define as definitely being supporting characters. They may be big characters, in terms of plot or development, but they’re definitely there in support of another protagonist. And whilst they may be fully-rounded characters with their own arcs, their primary function is to be funny; they’re the ones who deliver the comedy lines back to the main character, or crack a joke at the end of a serious bit.

Right, I think that’s my usual ridiculous caveats out of the way. Now let’s make ‘em laugh.

Baldrick (Tony Robinson, Blackadder series, 1983-99): Baldrick is one of the supreme comic idiots in all of fiction. Serving as a perfect foil to Blackadder, he is not only supremely stupid but also his niceness and naiveté serves to undercut his master’s wickedness; plus his idiocy is often the undoing of Blackadder’s villainous plans. But he is also charmingly fully-rounded, oblivious to his own stupidity, possessed of “cunning plans”, and with a great love of turnips. A phenomenal turn from Robinson.

Sir John Falstaff (various plays by William Shakespeare, from 1597): is it cheating to include as significant and iconic a literary figure as Falstaff? Feels a bit like it, especially as he's practically a lead (and, indeed, becomes one in Merry Wives). But really he’s the archetype: a supremely vain and self-serving comic foil, but one with vast hidden depths as he’s keenly aware of his own frailties and the inevitable end of his good times with Prince Hal.

Father Dougal McGuire (Ardal O’Hanlon, Father Ted 1995-98): in many ways he’s a slightly watered-down version of Baldrick’s comic idiot; but Dougal is, if anything, even stupider, and less self-aware. He’s like a perfect idiot, a beautiful naïve fool, a supreme man-child with his Masters of the Universe duvet. And he’s divine, just incredibly hilarious throughout; and, like Baldrick, serves as the perfect foil for his more duplicitous and cynical elder.

Donkey (Eddie Murphy, Shrek, 2001): animated sidekicks are very often the comic relief, and I’d argue that Murphy’s Donkey is as good as they come. I actually think Murphy’s prior turn as Mushu in Mulan is probably the better character, but Donkey is just a comic force of nature, a creature who exists only to make everything dafter and funnier. It allowed Murphy a chance to go all-out in a way he hadn’t on screen for quite some time, and it was something we’d rarely seen in animation (arguably only Robin Williams’ Genie is in the same ballpark). Plus, he actually is a good friend to Shrek, bringing out his better nature. Well done, Eddie!

Danny Butterman (Nick Frost, Hot Fuzz, 2007): another of those characters who really skirts the edges of “supporting comic relief” and is really a deuteragonist. But I feel like most of Frost’s characters in his partnerships with Simon Pegg are, essentially, supportive; Pegg is almost always the lead. In this film, despite Danny having some great development and functioning almost as a romantic partner for Pegg’s Nick Angel, he’s usually presented as a beautiful comic foil, his folksy, slobby demeanour contrasting perfectly with Angel’s straitlaced professionalism. And – for the second film in a row – he gets a tremendous C-bomb.

Luis (Michael Peña, Ant-Man, 2015): another comic fool, Luis is the silly, charming, endearing, loveable thorn in the side of Paul Rudd’s Scott Lang. He’s daft, yeah, and comes across as a bit dim, but his permanently-smiling demeanour means we just keep on loving him, even when we can see how annoying he would be. but what cements his position is his rapid-fire OTT explanations, and how the movie presents them; pieces of comedic joy in the MCU.

Cosmo Brown (Donald O’Connor, Singin’ in the Rain, 1952): Singin’ is one of those great Golden Age movies full of witty dialogue (as well as great songs, natch), and by its nature Gene Kelly is the lead and therefore straight man, whereas O’Connor’s Cosmo can be wackier and funnier, and in doing so get to the truth of what his friend is feeling. But what really gets him in this list is his performance of “Make ‘Em Laugh”, running up walls like he’s in The Matrix or something, and feeling like a Bugs Bunny cartoon brought to life.

Silent Bob (Kevin Smith, View Askiewniverse, from 1994): I guess you could argue that both Bob and his less-silent colleague Jay are, as a twosome, the comedy sidekicks in whichever films they’re in (apart from the two they headline, I guess); but if you take the pair on their own, I’d say Bob is the comic of the duo. Yeah, it’s Jay who’s the mile-a-minute loudmouth, cracking jokes and being explosively filthy. But who really gets the laughs? For my money it’s Smith’s perfectly-judged expressions, punctuating the pomposity or reinforcing the eccentricity of whatever Jay’s on about. And then every now and again he gets to speak, and delivers a great one-liner (“no ticket!”) or serious, heartfelt monologue (cf. Chasing Amy).

Semmi (Arsenio Hall, Coming to America, 1988): Semmi is supposed to be a loyal and devoted servant to Prince Akeem, and he is, I guess; but he’s also a true friend. Akeem’s quest to find love in New York is genuine, and despite the film’s high joke quantity, Eddie Murphy has to be relatively restrained in his lead role. Hall’s Semmi, on the other hand, gets to be acerbic, throwing shade and barbs at his lord, questing their quest and seeking his own share of wealth and, well, women. And we all love his line “you sweat from a baboon’s balls”.

Dory (Ellen DeGeneres, Finding Nemo, 2003): as discussed above, comedy cartoon sidekicks are a cinematic staple. They’re not often female, however, and even more rare is a female character who gets to be both funnier and seemingly dumber/goofier than the lead. Of course, Dory is full of pathos, a borderline tragic character whose chronic memory loss has a dreadful impact on her day-to-day life. It’s her sunny optimism (“just keep swimming!”) that makes her endearing more than her humour, however; and, of course, it’s this optimism that begins to chip away at Marlin’s (Albert Brooks’) flinty suit of armour. Funny, warm, makes our hero a better person, but can be a little bit sad – perfect comedy sidekick.

There are two that I’m annoyed that I couldn’t fit in so I'll mention them here: Carrie Fisher in When Harry Met Sally and Danny Kaye in White Christmas. In the former case, whilst Fisher’s Marie is hilarious throughout, and definitely comic relief when put alongside the relatively straight Sally, the fact that everyone, really, gets a lot of funny lines in what is a consistently funny film kinda knocked her down the rankings a little bit, even though I feel bad about it, because everything is always better if Carrie FIsher is in it, including these lists. Kaye’s Phil Davis in White Christmas absolutely steals that film from Bing Crosby, with fast-paced witty wordplay and some supreme physical comedy, and the running gag about how he saved the life of Crosby’s Bob Wallace is golden. But, I dunno, he just kept slipping down the list, despite being my favourite thing in that film. Sorry, Danny.

[sparda3g]

Gintama Chapter 689 Review

Before going into this chapter, I thought it was safe to assume that it’s going to be another hilarious chapter with a few nice scenes here and there. To my surprise, the comedy and serious tone ratio has been altered. Therefore, we got ourselves a really captivating chapter with funny and drastic scenes. The time to throw down and get serious is coming, and yet, I’m not ready.

After what happened last time, there’s no way you can skipped the comedy. By that, I mean the false or “wrong” fan service moment with Granny Kagura. Usually, Gintama recaps the last moment of a segment; reminding fans where they left off. In this case, it’s necessary for a comedy skit that had me rolling.

The theme is how Shinpachi has become a player; at least according to Gintoki’s observation. What’s hysterical is how he believes Shinpachi has risen to the level surpassing Gin-san. I heard of a student surpassing the master, but this is downright ridiculous. But that opinion is shattered when naked Granny Kagura appeared. As expected, she doesn’t know Gintoki is there. The funny part is he doesn’t know that’s Kagura. So it begins a train of hilarity.

What stunned him really is not just because he saw a naked granny, though my eyes would dried out, but because Shinpachi has gone way above Gin-san, aiming for Ginsan and Kinsan tier. This joke is hilariously clever if you know those twins’ background, who were over 100 years old, and how the name with suffix became a full name. I was laughing so much to see Shinpachi skiing through space; a hilarious callback to one of my favorite reactions. The puns about elders are also funny.

Things got very awkward when Little Kagura comes out of the shower, wondering if Shinpachi is home. I died from laughing when he thought this is the final chapter with Shinpachi, for whatever reason, skiing through space with law enforcements arresting him. That’s the most tragic ending ever. I can’t stop laughing at how self-aware Gintoki is about the final arc going on for a while and wondering when is it going to end. I know it has to end one day, but good God, don’t end controversial. That’s one way to kill your manga.

I can credit Gintoki for looking after Shinpachi’s safety, even if everything is misunderstanding. It becomes tensed when Kagura can’t find her underwear, but he’s blocking doors to avoid contact. What could possibly go wrong? How about breaking through doors with her bare arms. How terrifying that must have been for him. Rejoice, fans. You got your actual demanded fan service more or less. I’ll say this much; she’s another victim of longer hair equal prettier. I need to take a break from manga…

So yeah, Kagura is about to bash his head, but still doesn’t know that it’s Gintoki. However, he now knows that it’s Kagura, so at least he cleared out his mistake. Unless he thinks Shinpachi went “there.” This sounds like some Batman and Batgirl twisted fantasy. Anyway, he luckily escapes, though a bit bummed that another reunion is stalled for another time. That is until Kagura notices the hair belongs to her precious father-figure, Gin-chan. The run and hide charade is nearly over.

After one wacky reunion, we finally got to see what’s up with Katsura and Takasugi. Takasugi took the opportunity of another enemy warfare occurring outside and snuck inside to meet with Katsura. That was nice to learn how he did it, especially when you consider that he has no army anymore. That said I’m a bit surprised that he went all the way there to kill him. I know Katsura is Zurump, which is understandable for him to be targeted, but think of the friendship.

I can’t help but laugh at the scene where Elizabeth is standing atop of the chandelier. It looks so funny to me. But of course, Gintama has its own way to present a cool moment out of a funny sight. I honestly thought there will be a battle between him and Takasugi; that would be a money-making match. But instead, Elizabeth takes a snapshot and then, we ensue the true way to shape the future: Twitter! The reference to Trump is genius.

Never would I thought to see a comedy skit with Katsura and Takasugi, but after what happened earlier with Gintoki, anything is possible now. It’s so funny that he has tweeted many times with random nonsense or casually downplay the assassination attempts. This is too close to home. What makes it funnier is Takasugi was practically forced to play the straight man, but he lacks energy to be one. Everything that is stupid, he replies in a normal calm manner. Even Katsura calls him out at failing. Either Takasugi legitimately don’t know what is a straight man or pretends to not know, Katsura notes that next time, they will play in their reversal role. This is comedy. Sadly, it ends here and the atmosphere drastically becomes serious.

The tone gets heavy when they begin discussing about their beloved master, Shouyo. Takasugi let him know that he has been searching for his master to save him; similar to what he has said to Gintoki. Katsura’s decision is different yet arguably more righteous of the two. There’s no mistake, he too wants to save their master. It almost sounds like he was agreeing with Takasugi. However, his definition of saving differs.

It’s awe-inspiring yet kind of hurtful with Katsura’s decision to save Shouyo by eliminating him. I was touched on how much he has learned as a Prime Minister and meant what he felt about his people. He wants to protect everyone, like what a Shogun used to do. It’s just Shouyo is also Utsuro and instead of gambling their chance, he wants to end the religion and him. That, to him, is what he considered “saving him.”

I mentioned hurtful because some fans would like Shouyo to return and earn freedom to live, but the reality is he’s the most hated criminal. Letting him live is an awful decision; making all “coolest guy ever” characters look like no crime record people. This moment leaves Gintoki as the middle man since he is torn between ending and sparing Shouyo’s life. I know he wanted to kill him before, but that flashback with him raising the child gave us a clearer view of his character. This subplot is seriously exciting. Please, Sorachi. Don’t ruin the payoff.

Katsura has some serious sincere dialogues that really got me picking his side over the debate. You can argue that he is more mature than Takasugi in this predicament. He hits right in the feels by closing the argument with everyone cannot go back in time after what they have become. It’s so true yet sad at same time. This discussion helped Takasugi to make his final decision: kill Katsura. Not like this…

This chapter is just fill with surprises. Not only would I never thought to see a comedy skit with Katsura and Takasugi, but now, a battle between them. The way how the setup plays out definitely feels like this is going to be a serious one-on-one combat. Katsura versus Takasugi is really happening. So many battles that I thought it wouldn’t happen, but since Sougo versus Kagura, anything is possible. I don’t know if the cliffhanger interrupts it, but if not, oh man, I can’t contain my excitement.

I was so happy that Kagura is chasing after Gintoki; however, I was so sad to learn more depth of her inner conflict. There’s no laughing matter here. In the flashback, Umibozu gives her a deep meaningful advice about letting go. Kagura was conflicted to return to Yorozuya, but he told her that if she doesn’t reach her hand out, there will be no one to grab back anymore. It sounds like a guilt trip, but it’s true in many ways. I sadly can relate to that. One must make a move to bring back together.

What really did it for me is another flashback about Shinpachi’s past two years action. Kagura thought Shinpachi was protecting their home and waited for Gintoki to return, but the truth is he wasn’t. He only protected it because he couldn’t move on; he too was stuck in the past. After all, Yorozuya is designed for those who have nothing to do. That…is a deep reference. Honestly, that made me whisper, “…aw…”

This left Kagura to carry a heavy burden. She has the chance to bring the family back together again. I love how the chase scene slowly becomes emotional. This could have been a funny gag, but the more you understand her feelings, the more you are feeling her pain. You want her to stop Gintoki from leaving. Her expression changes overtime from determination to sadness. Her reaching out her arms moment is so moving. The metaphor could not be any more painful.

The ending twist is not what I expected. The terminal is about to blow up, which I don’t get. I thought Tendoshu need them, unless there’s something else I missed. But that means the series is about to get dark again. The best part is how Gintoki drops his charade that reads, “To hell with hiding! I must protect Kagura!” I love that moment so much. This is why these characters are amazing. What comes next is anyone’s guess.

This chapter was a lot of things and outstanding is one of them. It’s filled with great laughs, especially in the beginning. I can’t stop laughing at the thought of ending the series controversial. It’s filled with serious developments such as Katsura versus Takasugi, which I, if uninterrupted, can’t wait for it. Lastly, it’s filled with emotional connections, including a teary scene with Kagura crying for Gin-chan. It looks like it’s time to begin another war. I thought I was ready… I guess not.