A running gag on the TV show The Simpsons has Bart ringing Moe’s tavern and asking for someone with a joke name which contains a double entendre. Moe asks his patrons if that person is present in a way which highlights the double entendre, before realising he’s been pranked again.
One very controversial example has Bart ‘looking for a friend, last name Kebum, first name Lee’. Moe says, ‘Hey guys, do I got a Lee Kebum? C’mon, look at the stools. Is there a Lee Kebum? Somebody check the rear. I know I got a Lee Kebum.’ Barney then quips, ‘Then you probably shouldn’t be handling food!’ Leaky bum, haha.
Profanity, sometimes the language of celebration, also often gives us something to celebrate. In comedy, it can signify a character’s superiority to situation, the fluid personality unimpeded by almost inevitably hostile circumstance, even if that’s just the prospect of meeting someone in a bar, or dealing with star-crossed love or your crazy parents, or whatever. Profanity provokes a smile or chuckle, too, when it’s used against type, when the good girl emits an unexpected fuck. Who saw that coming? It’s a verbal pratfall.
In earlier installments of the bitch chronicles, we’ve observed these stylistic effects in the situation comedy How I Met Your Mother, its sure-tongued use of son of a bitch and various euphemisms for it, especially Lily Aldrin’s Inigo Montoya-influenced You son of a beetch. It was all in good fun, but some of HIMYM’s bitching appropriates Black Language and whitewashes it for a mass audience. That’s not fun for everyone. On this point, HIMYM is inadvertently political. Its misappropriations of African American-inflected bitch ring false and rather than promote comedy interfere with it, at least for some viewers.
Our last bitch chronicle ended by observing that son of a bitch is semantically poetic. The sounds of son of a bitch can be poetic, too. It takes stress at different points for different expressive purposes: son of a bitch is different from son of a bitch is different from son of a bitch. So, there’s value in the full and precise articulation of the phrase, but also pragmatic value in truncating the phrase, or extending it, or playing with it euphemistically.
The situation comedy How I Met Your Mother (HIMYM), created by Craig Thomas and Carter Bays, aired for nine seasons (2005–2014) on CBS. The show focuses on the complicated friendships among five twenty-/thirty-somethings: Ted Mosby (played by Josh Radnor) is an architect from Cleveland, Ohio; Marshall Erikson (Jason Segel), a lawyer, hails from Minnesota; his girlfriend/fiancée/wife, Lily Aldrin (Alyson Hannigan) is a kindergarten teacher and New York native. Ted, Marshall, and Lily met while students at Wesleyan University. They are joined by Barney Stinson (Neil Patrick Harris) and Robin Scherbatsky (Cobie Smulders), a Canadian trying to make a career as a news reporter/anchor. Their antics are framed by Ted’s voice-over explanation to his children (the voice belongs to Bob Saget), in 2030, about how he met their mother, Tracy McConnell (Cristin Milioti), whose face we first see in Season 9. It’s not television for the impatient.