Hey guys, Jared again. Today, we’re talking about your favorite
ocelet enthusiast "Sterling Malory Archer!" and his crew of snarky, foul-mouthed spies. "Jesus Christ, *gasp*, sh*t, *gasp*, god d*mmit" Archer has sustained 8 seasons worth of comedy,
with the occasional drastic reboot. "So what we form a cartel?" "How hard could it be?" So what makes Archer work? What’s its secret sauce? How does watching it feel like a familiar
experience even as the show takes absurd leaps that would probably kill off any other show? Archer succeeds by inverting rules, characters,
and narrative tropes of the spy genre while using sound and language gags to build a unique
arsenal of humor that explores deeper character psychology. "Oh Clive. Clive. Is that you? It's me, dear. Mrs J Edgar Hoover's Mother." Welcome to this Wisecrack Edition on Archer. And as always, spoilers ahead. It should be no surprise that Archer
borrows plenty of thematic elements from James Bond. "Duh and or hello?" But these gags are more than just a shallow
nod to 007. Bond films regularly pit the freewheeling
titular stud against the stuffy, boring rule-makers, best exemplified by M. To understand why this is important, we have
to look at what was going on in America during the meteoric rise of the James Bond series. According to sociologist Thomas Andrae, this
time period was a “crisis of masculinity." In which “The male desire for autonomy and
independence… was displaced” by pressure to sell out for a desk job with a 401k leaving
many a man feeling like an “alienated but conforming employee of a large corporate bureaucracy.” Spy thrillers emerged as the perfect form of
escapism with the character of James Bond exemplifying the ideals of independence, agency
and individualism. That were otherwise lacking in the
day-to-day life of most American men. Bond’s characterization as a chronic rule
breaker who relied on his charisma and sheer guts to succeed made him the perfect hero
for the time. Unfortunately, the Bond-style secret agent
is complete fiction. Reportedly, after viewing a James Bond film,
CIA officers would ask questions like, “Why wasn’t Bond required to prepare an expense
report?" Throughout the entire series, Archer takes
this question, and milks the humor of the unglamorous espionage
bureaucracy for all its worth. "Ahh! I forgot to spend the balance in my god damn flex account!" "Are you dated employment or...?" "CALENDAR YEAR!" Mindless paperwork occupies a central role
on the show, frequently threatening Archer’s ability to live his best spy life. "You turned in an expense report from Berlin
where the German desk says you never checked in." "Oh, Berlin was—" "Ditto Buenos Aires. Too busy to check in?" "There was… Yeah." The show contrasts the fantastical action
sequences with the mundanities of office life to amazing comic effect. "You're my beneficiary!" "Your what?" "On my company life insurance." Even when Archer does escape the bureaucratic
ramifications of his actions, it’s only because of his boss-mom Mallory’s forgiveness. Later in the series, when the agency becomes
a Private Investigation firm, Cyril is the only one eligible for a PI license. As a result, Archer has to suffer the indignity
of working for… the Figgis Agency. While a character like Cyril prospers in the
world of espionage bureaucracy; Archer’s swashbuckling antics are
usually counterproductive. "I don't see what could possibly go wrong." And a quick note on Cyril: whereas some might
associate paper-pushers like Cyril with emasculated stooges, Cyril is instead addicted to sex;
"Hello. Hello. Hello." and hyper sexualized. "I think I need a spanking," Archer is the ultimate James Bond parody; "It's all about machismo." exemplifying the qualities he’s best known
for and then taking them to their logical, unromantic conclusion. Like Bond, Archer is wild and untamed; "Woohoo! Painkillers!!" He uses drinking, fighting, womanizing, cars,
and guns to affirm his manliness. "Oh, you wanna see who's a big boy?" "Ahh!!" Throughout the decades, Bond films have fetishized
the latest, sexiest car. Aston Martin sponsored 12 of the 24 Bond movies
usually offering promotional deals to let fanboys live out their dream of buying a Bond
car. On the other hand, Archer’s car is a birthday
gift from his mother, presented to him as if it’s his Super Sweet Sixteen. "Oh my god!" "Surprise!" Adding to the adolescent feel, the car gives Archer an embarassing erection. "Oh God, he's got an erection!" The show mocks the way Bond’s hyper-masculinity
was and still is used to sell products like cars and beer to men who want to embody the
same qualities. "Dodge Challenger Special Agent Edition." "Brought to you by Dodge!" "Thanks Dodge!!" "Glengoolie: For the best of times." Archer’s car may be a marker of his manliness,
but it’s one that’s on loan from Mommy, who confiscates it days later. Again, the supposed masculine power of Archer
is yanked away by his more powerful mother. James Bond is one of cinema’s most famous
seductors. Similarly, Archer is hyper-sexual, constantly hiring sex workers sleeping with every office
mate; "Would you please come in this dirty toliet stall and have sex with me?" and propositioning
every woman with a beating pulse...and some without. "Could you close your eyes? I kind of feel like I’m banging tail-lights
on a country road." Of course, while Bond’s sexual prowess is
legendary, Archer’s is...less than that "Oh you finished alright." "Yeah. Maybe try woolite?" "Which by the way, makes one of us!" And while Bond’s sex life comes seemingly
without physical consequences, Archer frequently comes down with STDS; and has to pay for abortions. "I have problem." "I'll pay for it." Other health effects of the Bondian lifestyle
are also taken to a logical extreme. While James Bond is known to enjoy his liquor
Archer’s substance use is superhuman -- At one point, he literally chugs germicide. His drinking appears to play at least some
role in him getting the stereotypically feminine disease of breast cancer. "Any history of alcoholism?" "You know, I mean I drink socially, but" "Hah! I didn't have breakfast." Hardly the stuff of a 00 playboy. Before Archer undergoes chemo, he has some
of his sperm frozen. Later on, Lana secretly uses that sperm to
become pregnant and have his baby, without his permission or even his knowledge. For the oblivious Archer, even becoming a
father somehow plays out as a twisted form of emasculation. Cancer isn’t the only health ramification
of Archer’s secret agent lifestyle. There’s also tinnitus, a hearing loss caused
by too many damn guns going off all the time. Either James Bond is always wearing ear plugs,
or his creators ignored the pesky realities of inner ear damage. At one point, Archer and his crew even solidify
tinnitus as the show’s pet cause; attending an annual fundraiser for the American Tinnitus
Association. Once again, Archer subverts the bulletproof
James Bondian fantasy by dragging Archer into the bleakest realities of his mortal body. But is there something more to Archer's hearing
loss? Communications scholar Ian Dawe thinks so. In his essay, “Archer: A Spy Parody For
The Ears," Dawe argues that Archer’s tinnitus is more than an ongoing gag, it’s actually
an important aspect of the show’s preoccupation with sound and language, which are used both used
to generate laughs and to provide deeper insights into character psychology. To prove this, Dawe conducted a study in which
he watched every episode in Archer’s 3rd and 4th seasons and counted the number of
linguistic or sound-specific references, including language jokes, like puns, foreign language
references and or loud gunfire followed by the high-pitched ringing of Archer’s tinnitus. Dawe found that such references occurred,
on average, 10 times per episode in the 3rd season, and 11 times in the 4th… which comes
out to approximately once every TWO minutes. Just as mundane office politics serve as a
humorous contrast to life-threatening action sequences the show’s language jokes are
often employed at the most inopportune moments. "You just gotta relax and let it go in your
mouth." "PHRASING!" Dawe takes special interest in one of the
show’s simplest, ongoing gags. "Lana?" "Lana?" "LAAANNNAAAAA???!!?!?!" "WHAT?!" Archer’s frequent act of calling out loudly
to Lana, even when she is nearby, is more than just a simple annoyance. It’s reminiscent of a baby calling out for
its mother which, for Archer, probably never quite gave him the comfort he needed. "I don't feel good." "What the hell good are you?" Essentially, Archer’s increasingly louder
appeals to Lana signal his inability to control his demand for attention. Eventually, other characters adopt the same
gag: "Pam?" "What?" "Pam?" "What?" "PAM!" "WHAT?!" Based on the growing frequency of these appeals
for attention, Dawe says “Clearly it is very important in this show for characters
to be heard. However, it also seems to be important that
they not be heard too quickly by the listener, bringing up themes of power, demand, control
and psychological repression." For instance, take Archer’s classic “phrasing
joke.” "And don't you want to freshen up - after
your long ride?" "Phrasing, mother!" This is a classic use of what Freud called
“double entendre,” in which the joke ”depends quite specially on the sexual meaning” even
though the words having a an alternative, non-sexual meaning. Freud thought these sorts of jokes were a
way to release some of the nervous energy that comes from repressing sexual or aggressive
desires. That’s particularly significant when Archer’s
aiming the joke at his mother, for whom he has more than an inkling of an Oedipal complex. "The thought of me dead gives you an erection?" "No, it...just half of one." But beyond that, when Archer says phrasing,
he’s essentially choosing to miscommunicate, and willfully misinterpreting the speaker’s
words, thus derailing the conversation. By choosing only to hear the sexual innuendo,
Archer often ensures that the person won’t be heard at all. "Guess I'm a bad listener." The tactic quickly becomes one of Archer’s
favorite ways of hijacking a conversation. As language tends to do, “phrasing” spreads
as other characters start adopting it. "Oh Ron, thank you for coming so quickly!" "Phrasing, first, boom!" In fact, the joke eventually becomes so ubiquitous
that it actually circles back around to “falls out of fashion” like "YOLO" or "On Fleek". Archer’s anxiety over the plummeting popularity
of his favorite joke only confirms how important these attention-grabbing antics are to his
identity. The world’s image of a perfect man reduced
to a man-child. Phrasing isn’t Archer’s only way to avoid
hearing what a character, usually his mother, is really saying. Take the running gag about Archer’s voice
mail messages, which become increasingly elaborate ruses to trick his mother into thinking
she’s actually speaking to him. "Sterling, listen very --" "HA! Voicemail." As a result, Mallory has entire conversations
with his prerecorded voice before realizing she’s been duped. Here, Archer is taking great pleasure in the
power he is able to wield in a conversation with his mother. This voice mail message gag is Archer’s
hilarious, if juvenile, means of temporarily reclaiming some power and momentarily undermining
Mallory’s dominance over him. "Do you mind? I'm trying to parent." Just as Archer has trouble bending to the will of ISIS's Human Resource department, he often finds himself struggling with the rules of language. "I learned that flammable and inflammable mean the same thing." Both restraints prevent Archer from living
the badass spy narrative he envisions for himself. One such example occurs in the three-part
series “Heart of Archness,” when Archer has declared himself the king of the pirates. He attempts to address his “subjects,”
through his translator slash slave, Noah. "Okay, pirates hey-hey-hey!" "Take a knee!" "That won't translate. It's like last week when you said 'lend me your ears' and they were like 'Apa?'" "Damn it." "I can't do idioms. Sorry." "Shut up!" Archer attempts to convey his message without
these idioms, but quickly finds it impossible. "Wow, I never realized how much we rely on
idioms.” "You win this round!" Here, Archer chafes against the rules of language
just like he chafes against the rules of bureaucracy. But even when he’s not dealing with inconvenient
language gaps, Archer still has trouble expressing himself. "No, I uh uh uh.." "'I-I-I-I'm' haha! Still got that stammer,
huh?" While James Bond is well-known for his pithy
one-liners Archer is not so gifted; "Well he certainly left with his tail between his
legs," frequently regretting his failure to come up with the perfect witty line: "Wait! I got something for this." "Hush puppies." "Damn that's better." Again, Archer parodies Bond by turning his
funny off-handed innuendos into a chore in which Archer still comes up short. "Commence operation...something about I rescue Lana and she begs me to take her back so then Cyril commits suicide. I swear to God I had something for this." At other times, Archer’s language isolates
him, particularly when he’s attempting to connect with others over his favorite obscure
cultural references. "I would prefer not to. Bartleby, the Scrivener? Anybody? Not a big Melville crowd here, huh?" While he’s constantly grasping to be heard and to impress, through his brainy call-outs, he rarely receives any affirmation. "Who am I, William Saffire?" It’s always disappointing to have your thoughtful
cultural references fall flat, and not even the greatest spy in this fictional cartoon
land is immune to the shame. "Read a book!" Archer’s chock-full of fantastical fight
sequences, wildly ambitious spy missions, and unnecessarily complicated weapons technology,
but much of the show’s humor rests in the linguistic communications between the characters. "I honestly have no response to that." His lingering adolescent sense of being
an outsider, formed over an impressive fifteen years spent at boarding school are perfectly
expressed in his over enthusiasm for coining group slang and his wildly obscure pop culture references that inevitably fall flat. Most of all, Archer embodies the perennial
secret agent struggle born out of the 1950s masculine anxiety about being cogs in the
corporate machine. But what do you guys think? Will Sterling Archer ever learn to listen? Will there ever be a joke good enough to replace
phrasing? "I mean.. ..yes." Let us know in the comments! And as always, thanks for watching guys! Peace!
