How the situation and location are linked in situational comedy

The situation within Blackadder, which serves as the disequilibrium, varies, but frequently results in Blackadder’s restoration attempts backfiring. He may spend an entire episode in conflict with himself, such as falling in love with his manservant, only for it to appear to resolve itself when she reveals her true identity and agrees to marry him just before Lord Flasheart to steal her away at the last moment (“Bells” Curtis‚ Elton & Fletcher‚ 1986); or spending the entire episode attempting to prove he is the better person and impress the Queen by going on a voyage of discovery to bring her home some gifts, only for her to be bored of explorers and gifts on his return (“Potato”, Curtis, Elton & Fletcher, 1986c).

As discussed in a previous post, Langford (2005, p. 17) highlights “a movement, not towards a new equilibrium but rather to a forceful restatement of the existing equilibrium”, which is precisely what occurs at the end of most episodes. Although whatever cunning plan has likely backfired, but in the end somehow resolved itself, the equilibrium is the same as before the situation, albeit with different parameters, such as in “Nob and Nobility” (Curtis, Elton & Fletcher, 1987b) where Blackadder tricks the Prince Regent into thinking he is The Scarlet Pimpernel.

This battle between equilibrium and disequilibrium is constantly disrupted until the end of each series. With the exception of “Duel and Duality” (Curtis, Elton & Fletcher, 1987c) where Blackadder takes the place of the Prince Regent, in the last episode of each series the equilibrium is not returned, resulting in the death of most-to-all of the characters.

In the Elizabethan era of Blackadder II, the primary locations are set within Blackadder’s home and the court, with occasional moments elsewhere. These two locations clearly portray the power relations between the characters whilst enabling a clear social hierarchy to be stated: Blackadder is on top at home, but the moment he steps into the throne room, even Nursie is above him as she sits by Queenie’s side, with Queenie having absolute power.

Queenie’s power within her throne room is best portrayed at the end of “Bells” where an unusually large number of people are present, and she is standing high above them all. In contrast to this absolute power, she is stripped of it in “Beer” (Curtis, Elton & Fletcher, 1986d) where she is mistaken for a prostitute by Blackadder and is forced into a cupboard by him to hide her from his Aunt and Uncle, the Whiteadders. Renée Dickason writes that this is a calculated move with Hancock’s Half Hour (Wood, 1956-1960) setting the trend:

Dickason continues by pointing out that when the character is within their home environment, the use of space is significant in that “working-class homes are typified by the crowding of characters into a single room” and that “This promiscuity contrasts with the comfort offered to middle-class couples, many of whom are childless [. . .] or empty nesters.” (p. 40).

This is interesting when considering Blackadder due to the conflict between home and workspaces. As mentioned earlier, we do not see Blackadder’s servant quarters in Blackadder the Third. In fact, the closest we get to seeing this is the kitchen space where Blackadder always seems out of place with his clean uniform in comparison to the dirt of the kitchen and those within it. The kitchen is a domestic space and workspace, as is the Prince Regent’s room and they are each in contrast to one another – Blackadder almost seems out of place in the kitchen, but within the Prince Regent’s room it is Baldrick who seems out of place.

This spatial awareness is mimicked in Blackadder Goes Forth with scenes primarily in the dugout, the adjoining trenches, and in Melchett’s office at the chateau. As discussed in earlier posts, Blackadder’s position within the social scale is determined by his surroundings, which include location and the people surrounding him. The trenches act as a form of no man’s land and although Blackadder’s superiors are seen to be in the dugout at times and Blackadder, George, and Baldrick are aware of the social hierarchy and chain of command in these scenes, Blackadder’s say is absolute when it is just the three of them.

When the location changes to the reception area of General Melchett’s office, which is Captain Darling’s place of work, Blackadder and Darling share the same rank but are forever in a battle of power, with Darling winning that battle as soon as they step into Melchett’s office as this is Darling’s place of work, not Blackadder’s and when they are in the office, Melchett is clearly the one with the power. We will return to this in a later post.