1421: APPLAUSE

One of the things I find quite interesting when watching my favourite comedy shows from over the years — something I like to do over dinner, or when I just want to switch off my brain and zone out for a bit — is how the role of the “audience” has evolved. Specifically, how we’ve gone from prominent canned laughter, applause and other reactions to, in many cases, the complete opposite — the total absence of audience noise.

I say this because it took me nearly eight seasons of How I Met Your Mother to notice that that show has a laugh track in the background, albeit a very quiet one. It’s nowhere near as pronounced as in, say, Friends, which, in turn, was less pronounced than shows that were very proud of the fact that they were filmed in front of a live studio audience such as The Cosby Show. (I’m probably dating myself somewhat there, but eh. Whatever. The Cosby Show gave us the word “zurbit” to describe the act of blowing a raspberry on someone’s stomach, so it clearly had an important impact on culture at large.)

I remember back when I still lived at home and we started to get the first wave of new comedy shows that didn’t have laugh tracks in the background. They were often described as “comedy dramas” rather than sitcoms, and initially they made somewhat uncomfortable viewing because it was never quite obvious whether or not you were “supposed” to be laughing. I remember the first time I saw Spaced on TV, for example; it may be one of my favourite shows of all time now, but when it was first on TV and there was no easily recognisable prompt that you should laugh here, here and here, it was a little confusing.

This may sound strange to those of you reading this who have never known anything but shows without an audience track in the background, but it’s true. Nowadays, I’ve adjusted to the norm of there not being a laugh track — so much so that it’s jarring when you do notice it in shows like How I Met Your Mother.

That said, while the absence of a “live” audience has worked well for sitcoms and “comedy dramas,” it doesn’t work universally well. Game shows that unfold without a live studio audience are a curiously lifeless experience, for example, as anyone who has ever watched Eggheads or Only Connect will tell you. There’s nothing inherently wrong with the format of either of these shows (though the combination of smarmy presenter and the titular “eggheads” on Eggheads infuriates me beyond belief) — they just feel a bit “wrong” without, say, applause at the end of a round, or people laughing when someone cracks a joke.

I remember for a while some video games experimented with having a laugh track. The strangest one I remember was the N64 version of Mystical Ninja Starring Goemon, which was extremely Japanese and rather poorly translated, which meant the moments when the canned laughter kicked in were often… bizarre, to say the least. (Still, it was a great game; I recall enjoying it more than Zelda at the time.) It’s not something that ever really took off, though, and now that laugh tracks are the exception rather than the rule in other forms of media, it’s something I don’t really see games going back to any time soon — unless they’re specifically trying to capture the feeling of ’80s or early ’90s sitcoms.

Anyway. I didn’t really have a point to make with all this. I just thought it was mildly interesting.