So this is a CIDU-Oy.
And BillR, calling it “Almost a CIDU”, says “This took longer than it should’ve. But it came to me out of nowhere an hour after I saw it while I was driving to the grocery store.”

Well, maybe this?
So this is a CIDU-Oy.
And BillR, calling it “Almost a CIDU”, says “This took longer than it should’ve. But it came to me out of nowhere an hour after I saw it while I was driving to the grocery store.”

Well, maybe this?
Thanks to Darren, who sends this in saying “This one hurts my brain”.

“Is the fan on? I would hope for some blurring or sphericasia, but it looks like it’s not running. In which case, why move it?
The alternative is that the fan is running and someone thinks a cockerel weathervane points away from the wind….”



Stuck in the middle with youuuu ….

Here’s John McWhorter on stress (accent) retraction. (Should work as “gift link.”)


Carl Fink contributes this. “OK, why would the rhino have holes in its cardigan? Its own horn wouldn’t be poking it. Is it a joke about how anthropomorphic animals arms and legs don’t let it move on all fours without its chest scraping the ground, unlike the actual animal? I don’t get it.”
[start of rant] To your editor, this seems roughly like the comic strip analogy to the uncanny valley: “as the appearance of a robot is made more human, some observers’ emotional response to the robot becomes increasingly positive and empathetic, until it becomes almost human, at which point the response quickly becomes strong revulsion. However, as the robot’s appearance continues to become less distinguishable from that of a human being, the emotional response becomes positive once again and approaches human-to-human empathy levels”.
As we move animal characters from being animals acting mostly naturally (the cat Ludwig in Arlo and Janis, for example) to animals not acting much like actual animals at all (Pearls Before Swine) there’s a spot where the jokes just don’t work. There’s so many human characteristics put into the characters that we don’t accept the remaining animal characteristics needed to make the joke work.
Here’s a case where, in my opinion, the use of animals actually gets in the way of the joke. Hippos don’t need sunscreen and don’t sit upright on the sand. But the joke doesn’t have much to do with hippos at all: it’s that there’s a tiny bottle of sunscreen that’s too small for one of them, but the second is complaining there’s none left for them. The joke would be clearer with two normal sized people and a tiny bottle of sunscreen. [end of rant]





And another Argyle Sweater, this one from Targuman.

If you enjoyed that one, you may already know about the “Peccavi” incident.

The movie on which this joke is based was released in 1977: 47 years ago. Ordinarily, that would qualify for a Geezer tag.
Every so often we see, or are sent, a comic that has something awry in its setup or presuppositions, and are tempted to run as a CIDU because “I don’t understand how we can proceed from a faulty premise” or something like that. But then on the other hand we, on principle, aren’t here to condemn and cast out any cartoonist or their work.
So, as an outlet for the first impulse, here are some collected examples, of cartoons from sources one certainly respects highly, but contain boners that just demand to be called out.

This is actually pretty funny … once you get past the multiple problems in the setup and the text giving the premise.

But this seems to depend on fission being more dramatically explosive than fusion.

Except there are no imaginary numbers involved!

Okay, it’s no doubt just a typo, but maybe today there isn’t a pass for that. The issue is that Argon is almost exclusively encountered as a gas, never an oil. But there is something called argan oil, currently a popular component of skin and hair products.

The error here is probably noticeable only to someone familiar with the workings of USPS local operations in urban localities. A collection box is the more commonly seen, the mostly blue boxes we call just “a mailbox”, with some kind of opening where anyone can slide in a letter. They will contain mail for anyplace on earth, or anyhow in the USA, and certainly not limited to local destinations. There’s no way the buskids could deliver all that.
The joke could perhaps be saved by making it a [postal] relay box. These are the somewhat larger boxes, in a khaki-green, with no public deposit latch, only a side door with a lock. When a local delivery carrier with a bike or pushcart sets out from the station to begin their route for the day, it would be awkward to have to carry all the mail for the whole route. So it gets broken into two or three stages, and a truck from the station goes around to the relay boxes in the area and drops off the packets for the later stages of the routes being serviced by bike or hand-cart carriers. If the bus in our cartoon had knocked over one of these, the buskids could plausibly have delivered them. (You don’t need to know the route — just “follow the mail”.)


This was a CIDU for me for a couple minutes. And I’m still not sure of the intended idea.
BTW, is a clock a standard part of Twister play?
Thanks to Maggie-the-Cartoonist for this Loose Parts LOL:


I don’t know whether this is supposed to be the joke / the point of the cartoon, but I think it’s definitely a brilliant choice to have the meeting for the road-ragers take place safely online!

