According to Judd Apatow, audience trust is fragile momentum. A single bad joke, especially a big, silly one, can make the audience question the filmmakers' competence. This momentary loss of faith is enough to make the following jokes in the sequence fail, even if they're well-written.

Joke telling is a communication tool, not an inherently virtuous act. A well-structured joke elicits a physical laugh response that can make an audience accept a premise, even a harmful one. This persuasive power can be used for 'evil,' as the structure's effectiveness is independent of the content's morality.

The earliest known joke, traced to Assyrian cuneiform, is simply "a dog walks into a bar," with no punchline. The humor is not in a witty ending but in the absurdity of the premise itself. This highlights that humor's fundamental power lies in subverting established norms and expectations.

Humor is a tool for managing an audience's emotional state. By inserting a well-placed joke after a high-stakes moment (e.g., a pregnant woman screaming), a speaker can signal that the story is safe, preventing the audience from worrying about a tragic outcome and keeping them engaged.

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.

Engaging with deeply pessimistic philosophers like Emil Cioran can have a surprisingly uplifting effect. By framing life as inherently characterized by meaningless suffering, the philosophy lowers the stakes of personal failures. When things go comically wrong, it becomes an affirmation of the worldview, leading to laughter instead of despair.

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.

While working on 'Mystery Science Theater 3000,' Elliot Kalan's initial 'Maximum Jokes' philosophy backfired. Audiences reported that wall-to-wall jokes left no time to process and laugh, diminishing the overall experience. Effective comedy requires space, proving that thinning the herd makes the remaining jokes stronger.