Blackadder: Conclusion to the research

This dissertation aimed to examine the position of class and characterisation in Blackadder whilst defining superiority theory and exploring various definitions and theories such as Adrian Bardon’s object of amusement (2005) and T. Bradford Bitterly’s ideas on how humour is linked with power (2022). The structure of situational comedy and the importance of spatial awareness within a studio-filmed television show were important to investigate to guide this research.

It is important to consider these power relations and the spatial awareness when critiquing the comedy form deployed by Blackadder, especially when considering the final moments of the final episode where comedy was not appropriate, and the history being portrayed was within an audience’s lifetime. The findings allow a deeper understanding of the construction of humour, detailing how “humor is intricately linked with power” and how it relates to the characters within Blackadder.

A hierarchy must be established, and this hierarchy is rarely disrupted within individual episodes. Spatial awareness from the creators is paramount in the construction of the power relations between characters, especially when being filmed in a studio set where camera movement is restricted and acting must be towards a “fourth wall”.

All aspects together form the basis of superiority within a character, but also an audience, with audiences allowing themselves to feel superior over characters who have found themselves in believable situations which escalate unimaginably.

If I extended this study beyond a restricted word count, I would examine in more detail the charity special (Blackadder: The Cavalier Years, Fletcher, 1988) and one-off holiday specials (Blackadder’s Christmas Carol; Blackadder Back & Forth, Weiland, 1999) to see how they discuss history and to see if the themes we have discovered in this essay are relevant to them as well.

We have found the importance of power within a comedic situation, with those holding the power usually being those who are in control, or are attempting to regain control of, a situation. Whilst Blackadder is forever attempting to gain more power, he loses more and more as he descends the social ladder between series. Stephen Badsey rightfully points out “The gradual slide of the scheming and ambitious Blackadder character down the social scale through history, from prince to harassed Army captain, was part of the humour.” (2001, p. 114).