Volume 34, Issue 2 - Special Issue: Humor in the Age of Coronavirus

During the first months of the corona crisis, people worldwide produced and shared thousands of uplifting (e.g., humorous, moving) media messages. The six studies reported here empirically tested the consolatory effects of viewing such positive media messages in the US, The Netherlands, and the UK. I compared the impact of humorous and moving (i.e., touching, heartwarming) messages, as they provide different kinds of well-being: hedonic versus eudaimonic. Studies 1–3 had correlational designs. Largely in line with the hedonic versus eudaimonic well-being framework, the results suggested that humorous messages lift people’s spirits by providing pleasure, while moving messages lift people’s spirits by providing realism, optimism, and by illustrating core human values. Studies 4–6 used a pre- and post-measure of negative and positive emotions. The results showed that viewing non-moving humorous messages significantly reduced negative emotions but did not increase positive emotions. Viewing non-humorous moving messages reduced negative emotions and increased positive emotions in the US and UK, but not in The Netherlands. Finally, viewing messages that are both humorous and moving reduced negative emotions and increased positive emotions in all samples, implying they are particularly valuable as mood-enhancers during crises. The practical and theoretical implications of these findings are discussed.

A correlational study ( n  = 180 adults) in the United States tested the hypothesis that self-directed humor styles predict emotional responses to COVID-19, specifically stress and hopelessness, and in turn predict engagement in protective behaviors. Results from a sequential mediation analysis supported our hypotheses. First, to the extent that people have a self-enhancing humor style they perceived less stress and hopelessness associated with COVID-19 and as a result reported engaging in more protective behaviors. Second, people higher in self-defeating humor style showed the opposite pattern; they perceived more stress and hopelessness due to COVID-19 and thus reported engaging in less protective behaviors. Implications for theory and application are discussed.

The analysis undertaken in the article focuses on a group of memes selected from the database which drew on culture-specific references. Specifically, they embrace the memories of socialist times and call on references to comic films and easily recognized characters in order to bring out the re-discovered absurdity of the current COVID-19 situation. This material seems ideal to revisit Raskin’s early notion of sophistication, which was broadly argued to derive from intertextuality as well complexity of references that function as sources of humor. In all the examples discussed we can observe the intertextual and metatextual elements, multiple levels and shifts in points of view and attitudes as well as the mutual relations of verbal to visual within the meme cycles. In order to identify specific mechanisms of sophisticated humor, we attempt to identify the visual or verbal triggers of overlap of the two worlds in question, and discuss comic mechanisms of sophistication, including attributions of desire, belief and intention (purpose) to characters or the narrator as commentators on events or situations.

The COVID-19 pandemic that broke out in Israel in February 2020 prompted widespread public response, which included a deluge of humorous memes. The current article discusses the main meme cycles of the pandemic with the aim of uncovering the functions of the humorous meme, and particularly its singular language, which incorporates the universal and the particular, the global and the local, the hegemonic and the subversive. The memes are examined in their immediate context, as responses to news announcements, restrictions, and rumors relating to the pandemic, and from a comparative perspective, with emphasis on the various functions of disaster jokes and the use of folklore in response to previous epidemics, crises, or risks. Alongside the hybrid nature of the genre, these meme cycles demonstrate that COVID-19 is not just a threatening virus but a new reality that undermines our experience of time and space, evoking old beliefs and new, and threatening to change everyday practices. These narratives not only reflect the incongruities evoked by the virus, but also give vent to anxieties and aggressions brought on by the pandemic and convey a communal need to protect and foster group cohesion and a local sense of belonging.

In spring 2020, with most national football (soccer) leagues being suspended, fans from around the world turned to the Belarusian Premier League — Europe’s only championship to continue amid the COVID-19 pandemic. In March, a group of Australian football fans created the FK Slutsk Worldwide Facebook group, dedicated to the eponymous Belarusian club, which quickly transformed into a diverse online community. Initially, the group demonstrated many features of ironic fandom, with members producing various humorous forms and performing exaggerated loyalty in recognition of the peculiar circumstances behind the intense international focus on an otherwise unremarkable team. As time passed and the Facebook group community evolved, however, the practices of ironic fandom began to give way to attributes of a genuine fandom. Through an examination of the group’s development, this paper makes a case for viewing the relationship between ironic and genuine fandom not in oppositional, but in temporal terms. It argues that, in order for a fandom to sustain itself, it must be rooted in a shared sensibility that is not limited to a sense of irony, and that a transition from ironic to genuine fandom stems from this sensibility taking precedence over the ironic aspect.

This research employs the Theory of Planned Behavior and the Focus Theory of Normative Conduct to convey how The Late Show with Stephen Colbert employs humor and satire with the aim of providing information, proffering injunctive norms, and modifying attitudes and subjective norms in its public audience, while exposing the inefficacy of behavioral controls and urging public authorities to adopt effective ones instead. In the earlier stages of the pandemic in the US, the Show primarily appealed to people to change their behavior through providing information, invoking injunctive norms and affiliations, foregrounding appropriate attitudes and subjective norms; at the same time, its repertoire included social and political satire drawing on organizational and institutional mechanisms of behavioral control. As the health crisis became increasingly politicized, the Show redirected its satire to policies and political figures and sought to change the behavior of policymakers in setting proper role models and adopting wiser behavioral controls to lead the nation through the crisis. Meanwhile, individual responsibility was never spared in satiric attempts to change behavior as the Show continued to provide its audience with new scientific information and encouraged them to follow scientific recommendations.

This essay explores the news media’s portrayal of humor during the early phase of COVID-19-related lockdowns. Examining a collection of online news articles reveals the media tended to frame the issue as an ethical one (e.g., “is it okay to laugh at the coronavirus?”). After reviewing work on humor ethics, a qualitative content analysis of 20 news media articles is presented. Three issues from the news stories are identified, allowing comparison of the media’s claims against the ethical principles articulated. The essay concludes with a consideration of how news media’s coverage of humor fits within a broader pandemic narrative.