Aug 20 JDN 2460177

As I write this, Edinburgh is currently in the middle of The Fringe: It’s often described as an “arts and culture festival”, but mainly it consists of a huge number of theatre and comedy performances that go on across the city in hundreds of venues all month long. It’s an “open access festival”, which basically means that it’s half a dozen different festivals that all run independently and are loosely coordinated with one another.

There is truly an embarrassment of riches in the sheer number and variety of performances going on. There’s no way I could ever go to all of them, or even half of them, even though most of them are going on every single day, all month long

It would be tremendously helpful to get good information about which performances are likely to suit my tastes, so I’d know which ones to attend. For once, advertising actually has a genuinely useful function to serve!

And yet, the ads for performances plastered across the city are almost completely useless. They tell you virtually nothing about the content or even style of the various shows. You are bombarded with hundreds of posters for hundreds of performances as you walk through the city, and almost none of them tell you anything useful that would help you decide which shows you want to attend.

Here’s what they look like; imagine this plastered on every bus shelter and spare bit of wall in the city, as well as plenty of specially-built structures explicitly for the purpose:

What I want to ask today is: Why are these posters so uninformative?

I think there are two forces at work here which may explain this phenomenon.

The first is about comedy: Most of these shows are comedy shows, and it’s very hard to explain to someone what is funny about a joke. In fact, most jokes aren’t even funny once they have been explained. Comedy seems to be closely tied to surprise: If you know exactly what they are going to say, it isn’t funny anymore. So it is inherently difficult to explain what’s good about a comedy show without making it actually less funny for those attending.

Yet this is not a complete explanation. For there are some things you could explain about comedy shows without ruining them. You could give it a general genre: political satire, slapstick, alternative, dark comedy, blue comedy, burlesque, cringe, insult, sitcom, parody, surreal, and so on. That would at least tell you something—I tend to like satire and parody, dark and blue are hit-or-miss, surreal leaves me cold, and I can’t stand cringe. And some of the posters do this—yet a remarkable number do not. I often find myself staring at a particular poster, poring over its details, trying to get some inkling of what kind of comedy I could expect from this performer.

To fully explain this, we need something more: And that, I believe, is provided by economic theory.

Consider for a moment that comedy is varied and largely subjective: What one person finds hilarious, another finds boring, and yet another finds outrageously offensive. And whether or not you find a particular routine funny can be hard to predict—even for you.

But consider that money is quite the opposite: Everyone wants it, everyone always wants more of it, and people pretty much want it for the same reasons.

So when you offer to pay money for comedy, you are offering something fundamentally fungible and objective in exchange for something almost totally individual and subjective. You are giving what everyone wants in exchange for something that only some people want and you yourself may or may not want—and may have no way of knowing whether you want until you have it.

I believe it is in the interests of the performers to keep you in the dark in this way. They don’t want to resolve your ignorance too thoroughly. Their goal is not to find the market niche of people who would most enjoy their comedy. Their goal is to get as many people as possible to show up to their shows. Even if someone absolutely hates their show, if they bought tickets, that’s a win. And even any negative reviews or word-of-mouth they might try to give the comedian is probably still a win—comedians are one profession for which there really may be no such thing as bad publicity.

In other words, even these relatively helpful advertisements aren’t actually designed to inform you. They are, as all advertisements are, designed to get you to buy something. And the way to get you to do that is twofold:

First, get your attention. That’s vital. And it’s quite difficult in such a saturated environment. As a result, all of the posters are quite eye-catching and often bizarre. They use loud colors and striking images, and the whole city is filled with them. It actually becomes exhausting to look at them all; but this is the Nash equilibrium, because there is an arms race between different performers to look more interesting and exciting than all the rest.

Second, convince you to go. But let’s be clear about this: It is not necessary to make you absolutely certain that this show is one you’ll enjoy. It is merely to tip the balance of probability, make you reasonably confident that it is likely to be one you’ll enjoy. Given the subjectivity and unpredictability of comedy, any attendee knows that they are likely to end up with a few duds. That risk effectively gets priced in: You accept that one £10 ticket may be wasted, in exchange for buying another £10 ticket that you’d have gladly paid £20 for.

If the posters tried to give more details about what the shows were about, there would be two costs to this: One, it might make the posters less eye-catching and interesting in the first place. And two, it might (perhaps correctly!) convince some customers that this flavor of comedy really wasn’t for them, making them decide not to buy a ticket. The task when designing such a poster, then, is to make one that conveys enough that people are willing to take the chance on it—but not too much so that you might scare some potential audience members away.

I think that this has implications which go beyond comedy. In fact, I think that something quite similar is going on with political speeches. But I’ll save that one for another post.