The same cognitive switch that lets us see humanity in animals can be inverted to ignore it in people. This 'evil twin,' dehumanization, makes it psychologically easier to harm others during conflict. Marketers and propagandists exploit both sides of this coin, using cute animals to build affinity and dehumanization to justify aggression.

Mark Twain saw humorists as having a critical role: to challenge authority and consensus. He argued that irreverence is the "champion of liberty" because despots fear a laughing public more than anything else. This frames satire not just as entertainment, but as a vital tool for maintaining a free society.

A joke is incomplete without an audience's laughter. This makes the audience the final arbiter of a joke's success, a humbling reality for any creator. You don't get to decide if your work is funny; the audience does. Their reaction is the final, essential component.

To write comedy professionally, you can't rely on inspiration. A systematic process, like 'joke farming,' allows for the reliable creation of humor by breaking down the unconscious creative process into deliberate, replicable steps that can be performed on demand.

Brands, particularly in B2B, are often too serious and miss the power of humor. Laughter releases bonding hormones like oxytocin, creating an instant connection with an audience. It's a universal language that can dissolve conflict and make a brand more human and memorable.

A successful joke's core isn't the punchline but its 'point'—the underlying message or meaning. This foundation is often a serious observation. The humor is then built by creating a premise and structure that leads the audience to this point without stating it directly.

An effective joke structure takes a broad, relatable premise and concludes by subverting it with a detail uniquely specific to the subject. A 'Daily Show' bit about John Kerry used this, starting with his love of all things 'French' but ending on his marriage to a Heinz heir—a fact only relevant to him.

When presented with direct facts, our brains use effortful reasoning, which is prone to defensive reactions. Stories transport us, engaging different, more social brain systems. This allows us to analyze a situation objectively, as if observing others, making us more receptive to the underlying message.

A story's core mechanic for engagement is not just emotion, but the constant betrayal of the audience's expectations. People are drawn to narratives, jokes, and songs precisely because they want their predictions about what happens next to be wrong. This element of surprise is what makes a story satisfying and compels an audience to continue.