Predating vaudeville, Punch and Judy--with its giddy violence, its cast of stock characters, its bits and jokes and gags, its irredeemable misogyny, its clowning, its anticipation of nonsense and absurdity and mumbling as aesthetic pleasures--is also the phantom haunting the format and internal dynamics of every television sitcom. It does it first. It does it better. There is also a lurking horror within which I doubt is just a product of its times, that "we know better" now. Its urge to offend is almost theological in scale, undoubtedly compulsive.

The irredeemable tone and frequency of Punch's violent outbursts makes this very modern-seeming text curiously resistant to domestication, to colonization into a moral text or a sentimental one.
More scripts.
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