Studio C Classic Argument Essays

Arguably, the most well-known, modern scholarly book on the atonement is Gustaf Aulén’s Christus Victor, and its fame is justly deserved for a number of good reasons.1 It compares the three most important conceptions of Christ’s atoning work, and the rigorous comparison contributes to important theological analyses. Aulén argues that the classic view of the atonement, namely, Christ’s triumph over sin and the powers of evil, is the correct and dominant understanding, and he believes that the Latin or substitutionary understanding of the atonement, and the notion of the moral influence of the cross are less important, that they are both historically constructed, and for these reasons that they are ultimately misguided. Indeed, the Latin “legal” view cannot be reconciled with the classic “organic” view, as these different emphases represent irreconcilable trajectories in theology. The thesis of the book is sustained over a vast historical canvas, ranging from biblical materials through the early church fathers, major medieval theologians, and ending with the Protestant Reformers. Aulén’s dismissive handling of the historical evidence for the substitutionary view, however, is seriously flawed and has contributed to two widespread popular myths that this essay seeks to address.

The first myth centers on the timing of the historical development of the substitutionary view. A leading thesis of Christus Victor is that a fully articulated penal substitutionary view of the atonement is not biblical and that it does not appear until Anslem’s Cur Deus Homo in the late eleventh century. To sustain his thesis, Aulén argues that the early fathers emphasized the incarnation and Christ’s triumph over sin, Satan, and death, and he finds little evidence (mere “traces,” in his words) of the idea of Christ paying for the debt we owe to God—a debt that comes about as a result of our sinful disobedience in breaking God’s law. Aulén’s chief exemplar of the classic view is Irenaeus, a highly influential, late-second-century theologian, and there can be little question that Irenaeus does indeed espouse the classic view. But Irenaeus, just as Athanasius, Augustine, Luther, and Calvin in their turn, also articulated a thoroughgoing substitutionary view, and this is a fact that Aulén completely subordinates.2

Irenaeus clearly and repeatedly argues for all the essential elements in what can only be called a penal, substitutionary view of Christ’s atoning work. Several examples, none of which appear in Aulén, should suffice to establish this point. In the incarnation, Christ became “‘the Mediator between God and men’; propitiating indeed for us the Father against whom we had sinned, and cancelling (consolatus) our disobedience by his own obedience; conferring also upon us the gift of communion with, and subjection to, our Maker.”3 And it is precisely Christ’s suffering as a man that is efficacious:

For if no one can forgive sins but God alone, while the Lord remitted them and healed men [people], it is plain that He was Himself the Word of God made the Son of man, receiving from the Father the power of remission of sins; since He was man, and since He was God, in order that since as man He suffered for us, so as God he might have compassion on us, and forgive us our debts, in which we were made debtors to God our Creator.4

A great deal of Anselm’s substitutionary view is already found in these few phrases from the late second century.

Egbert C. Smyth, in an old but penetrating study, argues that the prevalent view of the atonement in the early church was substitutionary, and he sums up the leading ideas of Irenaeus:

His death is a “correction of the First Begotten” [Adam]. It fulfills the Passover. It remits our debt, our debt to God by transgression, a debt to none other but God, whose commandment we had transgressed in the beginning. For this transgression we are “in bonds of condemnation.” Death is a penal evil. Separation from God, antithetic to fellowship of God, is death. Sin is enmity to God. There is broken a friendship. Christ removes all that hinders its complete restoration. This involves not only influence on or for man, but propitiation.

Again, Smyth observes: “His [Irenaeus’] thought moves on the line of a theory of an objective atonement, whose spiritual principle and method are found in Christ’s obedience, an obedience conceived of by him as recapitulatory and propitiatory, as involving death, as meeting the penalty of violated law.”5 Death as the divine penalty for sin and Christ bearing our sins by his death in our stead are the necessary lynchpins for any idea of substitution, and these links are clearly evident in the thought of Irenaeus.

TERTULLIAN (ca. AD 160–225) was a prolific Christian author and apologist from the ancient city of Carthage, and the first to produce an extensive body of Christian literature in Latin. He is often associated with the concept of the Trinity—an idea that was originally rejected as heresy but later proclaimed as orthodoxy in the church. He was an advocate of strict discipline and austerity, and is considered by some to be the “founder of Western theology.” Though little is known of his personal life, it is assumed that he was born into a wealthy class and was exposed to education, which accounts for his immense erudition and resultant corpus of work.

But just several decades after Irenaeus flourished, another line of thinking emerged that was to have profound implications for the Western church right up to the time of the Reformation. The problem evolved out of the question of what is to be done with respect to sins committed after we are baptized. The early practice of penance introduces another term that is sometimes applied to substitutionary atonement, namely, satisfaction. But there are two radically different meanings given to the term. Beginning early in the third century, satisfaction applied to our own acts of penance, and only later did it refer to Christ’s work on the cross, and precisely here is the source of no little confusion over the nature of the atonement. Tertullian first developed the idea in about AD 200 that if we commit any sin after we are baptized we must perform penitential acts that satisfy God’s righteousness. These penitential acts, including various forms of bodily mortification, such as fasting and wearing sackcloth and ashes, are called by Tertullian acts of satisfaction. Sin is expiated (Tertullian’s word) and God’s righteousness is satisfied by what we do in penance. The essential idea here is that guilt is remitted by Christ’s atoning work thereby granting us salvation, but punishment is still required for sins committed after baptism. These righteous acts of penance are thus known as acts of satisfaction, and they atone for our sins and expiate them, rendering us acceptable before God. The practice assumes that the person is a baptized Christian who possesses salvation and that these acts of satisfaction bear only on temporal punishment, that is, punishment in this life or in the intermediate state (not eternal punishment), but it is clear that by this legal understanding of the cross, a significant question mark (to say the least) had been placed over the matter of the security of one’s salvation.

This understanding of satisfaction was thoroughly elaborated by Cyprian, Augustine, and others, and it was carried down to the eve of the Reformation in treatises on the atonement. For example, deeds of mercy were heavily emphasized by Augustine, and he spoke of them as proper acts of satisfaction that propitiate God for our sin. The practice of penance for post-baptismal sins was thereby understood to consist in the three successive acts of contrition, verbal confession, and acts of satisfaction. Even in Anselm’s treatise on substitutionary atonement, we find the same caveat regarding the necessity of acts of satisfaction for sins committed after baptism. Anselm also used the term “satisfaction” for the atoning work of Christ, understood in a substitutionary sense, thereby applying the same term to both Christ’s work on the cross and our acts of bodily mortification to expunge our own sins. Western theologians in the twelfth and thirteenth centuries worked out the theological rationale for penance and brought the tendency to separate between guilt and punishment to its final, dogmatic expression. On the eve of the Reformation, it was widely held that in the forgiveness of sins God forgives or remits guilt, but because it is fitting for God to punish sin, he commutes eternal punishment to temporal punishment. And thus, while our guilt is forgiven, temporal punishment for our sins is required, and thus we make satisfaction to God through our various acts of penance.

IRENAEUS OF LYONS (ca. AD 202) was an early church father, apologist, and bishop of Lugdunum in Gaul (then a part of the Roman Empire). His authority stemmed from exposure to the teachings of Polycarp of Smyra, a disciple of the apostles themselves, giving him access to an “unadulterated gospel.” His writings, formative in the establishment of the Christian church, emphasized tradition and were directed against Gnosticism, a heresy then spreading throughout the church. The most significant of his writings was Adversus Haereses (Against Heresies: Refutation and Overthrow of Knowledge Falsely So-Called). He is recognized as a saint by the Roman Catholic and Eastern Orthodox churches.

The second popular myth propounded by Aulén brings us to the Protestant Reformation. Aulén argued that Martin Luther adopted the classic view of the atonement to address the problems inherent in the Latin view, and that Christus Victor is the dominant view in Luther.6 While there are strong elements of the classic view in Luther’s thought, Luther in fact corrects the legalistic aspects of the Latin view of our performing penitential acts of satisfaction by a rigorous articulation of the penal substitutionary viewpoint. Aulén, just as with his treatment of Irenaeus, has forced a false choice upon his readers in that both the classic and the Latin views are at work in Luther’s theology, and the dominant and most important understanding is clearly the Latin view purged of its legalism.

The Reformation began as a debate over the nature of true repentance and the practice of penance. Luther’s well-known agony over his own salvation and his answer to both the abuses of penance and the use of indulgences is located precisely in the cross of Christ and its full efficacy. First, Luther’s substitutionary view is thoroughgoing. Christ in his mediatorial role “is a sinner, who has and bears the sin of Paul, the former blasphemer, persecutor, and assaulter; of Peter, who denied Christ; of David, who was an adulterer and a murderer. . . . He took these sins, committed by us, upon His own body, in order to make satisfaction for them with His own blood.” The term “satisfaction” here is carefully chosen, since the atonement includes punishment for our sins; in other words, the atonement is clearly penal. It was right, says Luther, for Christ “to bear the punishment and the wrath of God—not for his own Person, which was righteous and invincible and therefore could not become guilty, but for our person.” Herein are the grounds of our justification and our assurance of salvation. This doctrine, writes Luther, is “so sweet and so filled with comfort” because it teaches that “Christ became a curse for us, that is, a sinner worthy of the wrath of God; that He clothed Himself in our person, laid our sins upon His own shoulders, and said: ‘I have committed the sins that all men [people] have committed.’”7

Second, by emphasizing the full satisfaction of Christ’s atoning work, Luther completely rejects the legal notion of our rendering satisfaction for our own sins. The emphasis obviously involves a rejection of our actions being meritorious because Christ is the only one who has merited favor since he alone acted without sin. Christ is “a Propitiator and a Savior” who has “performed a superabundance of works and merits of [all kinds]. . . . He might have made satisfaction for the sins of the world with only one drop of his blood, but now he has made abundant satisfaction.” “Abundant satisfaction” leaves nothing for us to render to God for our own sins. For Luther, when a person attempts “to make satisfaction for his [or her] sins,” the grace of Christ is nullified. Thus, one’s “own works and afflictions” have no bearing whatsoever on salvation or restoration after sin, for if absolution comes through acts of penance, Christ died to no purpose.8

Other Reformers followed this same line of thinking and drew a sharp distinction between the full satisfaction of Christ and any notion of the validity of acts of satisfaction in penance. John Calvin, for example, argues that Christ’s atonement is substitutionary and alone has “the power of expiating, appeasing, and making satisfaction.” The atonement is “penal” in that Christ bore “the punishment” and vengeance due for our sins.” Christ’s sacrifice alone removes both penalty and guilt, and it alone, therefore, is properly a “satisfaction.” Calvin specifically denies the old distinction between eternal and temporal punishment and concludes, “if we are delivered from guilt through Christ, the penalties that arise from it must cease.”9 Just as with Luther, he depicts various forms of punishment in penance as “worthless” and “wretched satisfactions,” and like Luther, he makes the penal, substitutionary atonement the ground of our joyful confidence in God’s gracious and complete forgiveness.10

The identical structure of argument is found in the English Reformers. William Tyndale argues that Christ’s work on the cross “satisfies” God’s righteousness, and he adds, using the phrase in Latin for emphasis, that Christ made “full satisfaction both a poena and a culpa” [for punishment and guilt] and then observes, “with our holy father’s leave,” both for sins that occur before baptism and for those that occur after.11 Thomas Cranmer similarly argues that no punishment is left for us to bear because Christ bore it all, and his understanding of both the substitutionary atonement and the critique of our rendering satisfaction for sins were clearly rendered in the Thirty-nine Articles of the Anglican Church. Article II indicates that Christ “truly suffered, was crucified, dead, and buried, to reconcile his Father to us, and to be a sacrifice, not only for original guilt, but also for actual sins of men [people],” and in Article XXXI we find: “The Offering of Christ once made is that perfect redemption, propitiation, and satisfaction, for the sins of the whole world, both original and actual; and there is none other satisfaction for sin, but that alone.” It is scarcely possible to overemphasize the importance of Christ bearing the penalty for our sins in the teaching of sixteenth-century Protestants.

Understanding the longer history of penal substitutionary atonement and how it actually functions historically suggests several important reasons for why the doctrine is still important for us today. First, it was arguably the dominant view in the century following the apostles and in continuity with their teaching; it should therefore not be treated dismissively. Then, once it is placed in the sixteenth-century context of the debate over penance, it becomes clear why the accent comes down on the “penal” side of the atonement. With the Reformers everything changes because this “penalty” for sin is borne, not by the Christian in any sense, but by Christ alone.

It might be argued that because of the doctrine’s historical location and because of the radically different relations between Protestants and Catholics today, that the penal aspects are now less theologically relevant than they once were. But it should be noted that theological ramifications necessarily radiate out from this central doctrine. For example, the doctrine disallows any synergism with respect to our salvation by placing all merit in Christ alone, and it also underscores the radical nature of sin. Crucially, therefore, substitutionary atonement serves as the foundation for our assurance of salvation by undergirding the doctrine of justification. Christ’s completed work on the cross alone gives us confidence on the day of judgment. Additionally, substitutionary atonement is essential for understanding how the Reformers construed the Christian life and everyday spirituality. On the one hand, it leaves no basis for temporal bodily mortifications and hence contributes directly to the rejection of monasticism and the doctrine of the intermediate state. On the other hand, our motivation for Christian living is placed on the new foundation of the assurance of salvation and joyful thanksgiving for all that God has done for us in Christ. Other views of the atonement are certainly biblical and should be embraced today, but none of the other doctrines have accomplished so much in the history of the church as the penal substitutionary view.

1. Gustaf Aulén, Christus Victor: An Historical Study of the Three Main Types of the Idea of Atonement (trans. A. G. Hebert; New York: Collier, 1969 [1931]).
2. Ibid., 16–35, 84, 86.
3. Irenaeus, Against Heresies 5.17.1, in The Ante-Nicene Fathers 1 (ed. Alexander Roberts and James Donaldson; Grand Rapids: Eerdmans, 1979 [1885]). See also 4.8.2 where in performing the offices of the high priest Christ “propitiates” God for people.
4. Ibid., 5.17.3.
5. Egbert C. Smyth, The Prevalent View, in the Ancient Church, of the Purpose of the Death of Christ: An Historical Study (Boston, 1900), 8–9.
6. Compare Aulén, Christus Victor, 101–22, with Paul Althaus, The Theology of Martin Luther (Philadelphia: Fortress, 1966), 201–23: Luther, writes Althaus, “decisively follows the Latin line” (222).
7. Martin Luther, Lectures on Galatians (1535), in Luther’s Works 26 (Saint Louis, MO: Concordia, 1963), 277, 283–84.
8. Ibid., 132, 182.
9. John Calvin, Institutes of the Christian Religion (ed. John T. McNeill; Library of Christian Classics 20–21; Philadelphia: Westminster Press, 1960), 3.17.4, 3.4.30; see also 3.4.26.
10. Ibid., 3.16.3, 3.4.27.
11. William Tyndale, The Exposition of the First Epistle of St. John, in English Reformers (ed. T. H. L Parker; Library of Christian Classics 26; Philadelphia: Westminster Press, 1966), 113.

This article was published in Theology, News & Notes, Fall 2012, “No Cross, No Christianity: The Biblical Shape of Atonement Theology.”

Christology, Church History, Soteriology

From left to right: James, Whitney, Adam, Mallory, Jeremy, Jason, Matt, Stacey, Natalie, Stephen. (Not pictured: Aaron, Dalton and Tori, who joined the cast in early 2017.)

  • Abhorrent Admirer: Ann the librarian.
  • The Ace: "Jason Bourne" to the CIA's anger, fear and confusion.

    Matt: Look out he has a piece of pocket lint!
    (lights go out for a split second and when turned back on, Jason has untied himself from the chair and tied all 9 members of the CIA up and escaped)
    Mallory: (exasperated) HOOOOOOW!?!?

    • Edmond (Matt) to Fernand (Whitney) in "Edmond and Fernand: BFFs" is comparatively more successful, more attractive, more well liked and marrying the love of his life, to Fernand's thinly concealed detestation.

    Edmond: (reading YouTube comments during the outro): "I love the black haired guy, hate the brown haired guy,"
    "Edmond is soooo hot,"
    "Edmond is more attractive and talented than Fernand,"
    Fernand: (to Edmond, blankly with a clenched smile on his face)Where's your pistol?

  • Achievements in Ignorance: Matt has no idea how to play poker and yet he makes it to the final four in a huge tournament in "Poker Face." If he wasn't using Uno cards, he might have gotten lucky enough to win too.
  • Added Alliterative Appeal: "Dana's Dead", "Robbing Roger" and "Sam Sloan".
  • Adorkable: Lobster Bisque
  • All Girls Want Bad Boys: At least Natalie thought she did in "Bad Boy Rap," until Whitney and Mallory take it too far, and she ends up meeting a perfectly nice and handsome accountant, whom she immediately falls for.
  • All Just a Dream: Matt and Whitney try to convince Jason that he's dreaming by pulling off impossible feats that baffle even themselves. Actually, Whitney is the one who's dreaming.
  • All Women Love Shoes: In "Man On the Ledge," after witnessing her husband about to commit what she believes is a dire act, Natalie believing she drove him to it apologizes for spending over $2,000 dollars on shoes the previous month. Matt was actually unaware of that fact.
  • Always Someone Better: In "It's A Wonderful Life..." Stephen is mortified to learn that if he had never been born Whitney would have married a handsome, billionaire, philanthropist, rugby star, who is also named Stephen!

    Stephen: BOO! Jimmy Stewart's wife became an old hag!
    (notices the baby stroller)
    Stephen: What!?! Whitney said she never wanted to have kids!
    Clarence: Well, not your kids!

  • Amusing Injuries: The "Scott Sterling" penalty shootout
    • And the sequel, the Scott Sterling volleyball match!
  • Artistic License: "Atari's Revenge on Nintendo" plays fast and loose with video game history. Nintendo is portrayed as an American "little startup company" in the 80's, when in reality, it is a Japanese company that has been in operation since 1889. Also, the sketch ignores the existence of the Mario and Luigi characters prior to Super Mario Bros.note Mario first appeared as the hero of Donkey Kong, and subsequently as the villain of Donkey Kong Junior. Later he and Luigi, along with some of the other features mentioned in the sketch, showed up in Mario Bros.
  • "Awesome McCool" Name: In the "Alien Invasion" sketch, one star got renamed "Chuck NorrisSaurus Rex". And even though the planet is made of gold and diamonds, and populated by fluffy bunnies, nobody dares bother it. Contrasted with the Atrocious Alias given to another star, "Wounded Lover".
  • Awkward Kiss: "Harry Potter Accidentally Kisses Professor McGonagall" has Harry setting up an Under the Mistletoe kiss, with his intended target being Cho, but getting Dolores Umbridge instead. After an awkward peck on her cheek, he resets for Cho, but gets Professor McGonagall. He offers his cheek, but McGonagall goes in for the full-on lip-lock. The next one to come under the mistletoe is a dementor.
  • Babysitter from Hell: If Julie Andrews wasn't available for Mary Poppins or The Sound of Music, we might have had Ms. Gerdistein.
  • Badass Mustache: Jeremy's 'stache is practically its own character.
  • Bad "Bad Acting": Matt in Poker Face 2: All In.
  • Bad Boss: Matt in "How Are You Feeling Today?" is demeaning to his employees, takes great pleasure in using Whitney's supernaturally powered "Mood Board," to manipulate his employees for negative and humiliating outcomes, and later uses it to manipulate Natalie away from Stacey, and later manipulate Stacey to be okay with someone stealing his girlfriend.
  • Bait-and-Switch
    • In "I'm Adopted?", Stacey thinks his parents Matt and Mallory adopted him. Turns out he was Switched at Birth and the parents were too stupid to notice... and his biological parents are Asian.
    • "No Work and All Cosplay" has Matt, Jason and James as movie theater employees. When they overhear girls talking about how they find characters from Lord of the Rings attractive (presumably talking about characters such as Aragorn or Legolas), they dress up as Frodo, Gandalf and an orc in a failed effort to impress them. Later they hear other girls talking about boys from the Harry Potter films, but dress up as Voldemort, Snape and Umbridge. Finally, upon overhearing a girl talk about her attraction to Batman, Jason's face lights up. Since Batman is right in Jason's (the actor's) wheelhouse, we may not be prepared for the boys to come out as the Joker, Robin and Catwoman.
  • Bald of Evil: All of the suspects in "Supervillains"— Discussed, Voldemort claims the insecurity makes you evil. Averted with Gandhi.
  • Baleful Polymorph: Sorceress Mal turns Jason into a rabbit in "Our Wedding," and he doesn't transform back.
  • Bat Deduction: "Spoiler Alert". (Yes, that was the title of a sketch.) Strangely, the trope has yet to come up in any of the numerous sketches where Jason plays Batman, though this may be because his portrayal is more Dark Knight and less Caped Crusader.
  • Belligerent Sexual Tension: "Naturally" takes this trope to extremes when a man and woman start an argument who is more is more organic, only to end up making out.
  • Beware the Silly Ones: Ann the Librarian. For all her eccentric flirting, if a person neglects turning in their books on time, they will discover that she is also the ruthless boss of the Librarian's Mafia, and have them punished, all with a pleasant smile on her face.

    Ann: Tell him to say "A Farewell to Arms."
    (Adam grabs and holds Jason's arms down while weilding a knife)

  • Big Brother Is Watching: In How to Be a Famous Reality Star, which presents the obvious surveillance as if it is a reality show.
  • Big Damn Kiss: Mallory and Adam in "How Are You Feeling Today," after Whitney uses the board to boost Mal's confidence.
  • Big "NO!": While not a "No," per se, Matt gives a long, loud, exasperated scream in "Jeremy Isn't Real," after learning Mallory is actually just Jason in a wig.
    • Matt and Jason deliver one near the end of "Sam Sloane," when almost near the end of the sketch, Matt uncharacteristically screws up his summary line, forcing them all to restart from the beginning once more. Mallory and Stacey also express their frustration at this.
  • Black Comedy: Sometimes steers into this.
  • Blessed with Suck: Rotting Flesh, the superhero with leprosy
  • Bratty Half-Pint: "Episode 7 Releases Footage of Jedi Class" shows the logical conclusion of having a bunch of kindergarten age kids trying to master the Force.
  • Brawn Hilda: Birgitte Gerdestien, who was rejected for the roles of Mary Poppins and Sister Maria.
  • Bread, Eggs, Breaded Eggs: In "Most Realistic Video Game of All Time", Matt encounters a baby, a navy SEAL, and a baby seal.

    Mallory: Matt, you can't just eat bacon for every meal. That's not how cleanses work!

    Matt: Of course that's how cleanses work: You pick one thing and eat only that thing. Juice, bacon, bacon juice...

    Mallory: That's grease.

    Matt: I've heard it both ways.

  • Brief Accent Imitation: Usually Jason.
  • But for Me, It Was Tuesday: Evil Memory Lapse
  • The Butler Did It: Jason tries (and fails) to invoke this trope in "Blame it on the Butler"
  • Butt-Monkey: Adam in the two tongue twister skits, "Dana's Dead" and "Robbing Roger". In one Jason spits water in his face repeatedly, in the other Jason throws goop and feathers in his face repeatedly.
    • In "Kid's School Photo Banned" he gets sent through the ringer again, this time because he didn't look awful in his school photo
    • Mixed with Humiliation Conga, Jeremy in Overdue Military Letter. Matt and Jason get great gifts, Jeremy...
    • Matt in "Narrator Hater," due to the narrator's (James) unabashed hatred towards him.
    • Poor Adam ends up being this in real life among his castmates as in "The Live Million Subscriber Challenge," he ends up being the biggest loser by the end of the tournament, ending with a dead cockroach entering his mouth in the final challenge with Jason.Yuck!!!

    Adam: (to the viewers) Please leave comments about upping my salary!!!

  • Call-Back: "College Research Project: The Four Page Zone" references "The Absent-Minded Robber":

    Jason: Next semester we can study the thing that happens when you walk into a room and can't remember why you're there.

    Whitney: Oh yeah, my brother had that! He's in jail now.

    • In "Marco Polo," Matt's DaVinci pulls out a painting of Mal's Mona Lisa.

    DaVinci: You guys have no idea how long this take-a to paint. She was a difficult subject!

  • The Cameo: "Studio C" Co-Creator, Producer and Director Jared Shore appears at the end of "Bad Boy Rap" as the handsome nice guy that Natalie falls for.
  • Clingy Jealous Girl: Peter Pan's shadow.
  • Cloudcuckoolander: Many of the characters
    • Matt in "Poker Face"
    • John Gibson in "The Treatment"
    • S in "Replacement Q"
  • Captain Ersatz: Jim Blonde for James Bond.
  • Character Filibuster: Senator Warner needs to filibuster, so he pulls out the Twilight books and starts reading.
  • Cheese-Eating Surrender Monkeys: Invoked in Foreign Exchange and The Ottoman Empire.
  • Chick Magnet: The reason James is able to room with Spencer. The girls all find him adorable, and by extension James.
    • Franny (Jason) the 18th century's standard for a Manly Ladies man.
  • Christmas In July: Mallory goes completely overboard with the decorations in "Advent Calendar Temptation".
  • Classical Mythology: "The Greek Gods" includes some of the more well-known Greek deities...and some other ones. And apparently Morgan Freeman is one too.
  • Clown Car Base: Couchville
  • Crazy-Prepared: "Gun To A Knife Fight" skit.
  • Colossus Climb: The Shoulder Angel when he needed to help Shawn Bradley.
  • Corpsing: Jeremy's superpower is that he can keep a straight face through anything.
    • Mallory totally loses it in A Bold New Soap Opera.
    • Mallory and Whitney both in A Bold New Telenovela.
    • Matt and Mallory both fail to keep a straight face at the end of "Dungeons and Dragons."
    • Matt is clearly on the verge of laughter in "Awkward Double Date with Puritan Roommate."
    • Matt is visibly smirking and desperately trying to keep it together in "A Friend's Dying Secrets," where he is actually playing a corpse. Jason, who can usually keep it together, lost it as well. Some quick improvisation tried to cover it up.
    • "Cheer Up Mix Up" had both Matt and Adam struggling to keep it in. To be fair, Adam was sporting a "LOSER" forehead tattoo at the time.
    • Matt has become so well-known for breaking character that Studio C has created a playlist of sketches in which he does it.
    • Jeremy finally breaks character in "Atari's Revenge on Nintendo".
    • While they all, no surprise, lasted longer than Matt (The Flash), in "Wonder Woman fights for Equality" after Natalie (Wonder Woman) accidentally slams Jason (Batman) harder than she intended too into the desk, all of them, James (Superman) included ended up visibly chuckling and smirking at the circumstances. Too his credit Jason was able to remain his composure longer than the other three.
    • Impressively averted by Mallory in "Prince Charming's Awkward First Kiss," in which she remains completely still and in character as an unconscious Sleeping Beauty, despite all the shenanigans Adam's Prince Charming puts her through. The two even mention how amazing this was in the React Series, especially given that neither were able to keep it together during dress rehearsals of the sketch.
    • One of the charms of the "tongue twister" sketchs is watching the regular players (Matt, Jason, Stacy, Mal and Adam) crack up after mistaking their lines.
  • Creepy Child: Spencer, the baby who is a college Freshmen.

    Spencer: Hello, Matthew.

    • Whitney and Matt's infant daughter, who can only be calmed by slasher music in "Baby's Favorite Lullaby."

    (Matt is freaked out by four scare chords in the music, but his daughter laughs maniacally, causing a wide-eyed Matt to stare at her alarmingly)
    Matt: (cautiously calling out to Whitney) Honey...
    Daughter: DADDY!!!!
    (Matt screams)

  • Comically Missing the Point: In the skit, seriously? That's romance?

    Queen Elizabeth: Oh, look, I made BuzzFeed! "The Top Ten Most Irrelevant Old People."

    David Cameron: Oh, I'm sorry.

    Queen Elizabeth: I MADE BUZZFEED!

    • In "Welcome Back Song," after Jason is dragged down by the audience to what appears his death, the rest of the cast watch in complete horror, except for Stacey who continues rocking out to the song, blissfully unaware of his castmates demise.
    • Green is the only crayon not disturbed by Black's action in "The Crayon Song," absent-mindly bobing along with the song.
    • Adam can't understand that Tori is insulting him by the end of "Love Duet," and would literally rather cut off her ear than continue singing with him!

    Tori: (singing) I'd rather hug a cactus!
    Adam: Ooh, I like what I'm hearing!

  • "Dear John" Letter: Jeremy the soldier receives one from his girlfriend in "Overdue Military Letters", saying she's met someone else. A few minutes later, Jeremy opens an invitation to their wedding.
  • Death Glare: Mallory and Whitney are both quite good at pulling one out when appropriate.
  • Deadpan Snarker: All of them have this potential, but Jeremy is king among them in this regard.
  • A Degree in Useless: Subverted in "Practical Philosopher"
  • Did I Just Say That Out Loud?: Matt in "Dungeons and Dragons".

    Matt: Long have I desired to be kissed by a woman... says my character.

  • Discriminate and Switch: Stacey realizes that Matt obviously couldn't have been his long lost son in "Clue Murder Mystery Scandal" because they have different colored...eyes.

    Jason: You of all people should understand. There are different ways to describe people

    Stacey: What do you mean by me of all people?

    Jason: Because you're short.

    Stacey: Oh, touché.

  • Disguised in Drag: Grandma Tild
  • Disneyfication: Fixing Good, the remake of Breaking Bad about a guy who makes "crystal-clear math"
  • Dissonant Serenity: "Five Day Weather Forecast" has Matt calmly explaining the weather as the world ends.
    • "Our Wedding" shows a montage of Adam and Natalie's wedding going to hell, all while a peaceful soothing variation of "Pachabel's Cannon" underscores it.
  • Drama Queen: Or "King" in "Econ 101" as played by Matt.
  • Duel to the Death: "James Austin," ends with Matt challanging Jason to one.
    • Implied that Alexander Hamilton and Aaron Burr leave to partake in their infamous historical one in "Founding Father's Fraternity."
  • Early Installment Weirdness: Season 1 has quite a different feel from what came later. There was No Budget, so there was very little location filming or post-production work; nearly all sketches were shot live before the studio audience. This coupled with most sketches being directly adapted from Divine Comedy routines gave this season a very "stage-y" feel; the cavernous, minimalistic set design further contributed to this. Although Matt, Mallory, Jason, and Whitney continued to be the only billed repertory players until the end of season 4, in the first season there's a much clearer divide between them and the other six; they're the leads of almost every sketch and wrote almost all of them too. The supporting cast members, meanwhile, have yet to find their comedic voice; the contrast is most striking with Jeremy, who comes across bland and generic in season 1 despite having a very pronounced and unique on-screen "brand" for the rest of the series. The theme song "I Wanna Run" is also absent.
  • Eccentric Mentor: Mr. Ecclestone.
  • Emotion Bomb: Whoever controls the "How Are You Feeling?" board controls the world.
  • The End of the World as We Know It: "Five-Day Weather Forecast"
    • Matt and Mal deliberately screw up Adam's school photo to prevent this.
  • Even Evil Has Standards: In the "Lady Shadow" sketch, the whole reason why no one fights Lady Shadow...because she's pregnant.
    • Maniacal Mad Scientist Matt is horrified when Igor accidentally releases One Direction on the world, an evil even he would never have subjected on humanity.
  • Fantastically Indifferent: "Trip to the ER"
  • Fat Suit: Matt has worn a fat suit for several sketches, including "The Bacon Cleanse" and the ones featuring the Shoulder Devil character.
    • Whitney wears one as "Lady Gordon."
  • Flynning: According to "Fencing: Slow-Mo Replay," modern fencing matches are actually like this, but they happen so fast that you need to watch the replay to see them.
  • From Bad to Worse: The misfortunes that Lord Capulet experiences in "Romeo tries to Impress Juliet," gets more and more outlandish.
    • In "Our Wedding," after Mal reveals herself to be an evil sorceress, she kidnaps Natalie, sics a colony of bats on the bridesmaids, that carry Whitney away, turns Jason into a bunny that she flings at Matt, sends Stacey flying skyward, sets Jeremey and his mustache on fire, and finally turns into a dragon and challenges Adam.
    • James attempts to give the audience a tour of the backstage but instead is witness to escalating chaos his cast mates are experiencing.
    • The cast thinks that being stranded on a deserted island is bad, until Mark Rober's inventions end up making thier lives so much worst.
  • The "Fun" in "Funeral": "Dead Wedding"
  • Funny Background Event: "Presidential Shoulder Angel"
    • Overtly fueling the "Mattory," craze, during "Shoulder Angel Angel," Mallory is shown having a picture of Matt in her locker, highlighted by four hearts, which she strokes longingly.
      • Right beside her in the same sketch, Adam has photos of Whitney, Stacey and James in his locker.
    • In "The Wrong Sketch," Adam and Stacey recreate the Shoulder Angel, to the oblivion of the cast.
    • "P 90 X," has Matt demonstrating difficult exercise routines, while Mallory shows "adapted" versions of the exercise, and Jermey works up a sweat, to the point of death.
  • Gambit Pileup: In the "Death Bed Repentance" skit, the Livingstone family (a mafia family) and Jose Delgado (the mafia boss who should be dead, and who disguised as a delivery man who Mallory paid to deliver her candy tombstone) pull this off to one another, despite their confession (of not having much time to live) becoming more repetitive and unrealistic as the sketch goes on
    • "D&D Revenge", both sides (the guys and Carly) did a great deal of preparation when they meet again
  • Gender-Blender Name: Stacey is a guy. Surprisingly, this trope remains unexploited.
  • Gentle Giant: Adam in "Little Man Syndrome," who is abused by shorter Stephen and Matt.
  • "Gift of the Magi" Plot: Mallory and Stephen recreate the story, only for Mal to be livid that Stephen would have sold his watch, after she sold her hair for a chain for it.
  • Girlfriend in Canada: Adam in D&D Revenge
  • Girls With Mustaches: The Marvel's Avengers parody song featured Mallory dressed as Thor, complete with mustache and beard.
  • Grammar Nazi: Captain Literally is a superhero variant, but he is not the only one....
  • Good Angel, Bad Angel: Both have showed up in the Shoulder Angel sketches, although only once in the same skit.
    • And it seems that Shoulder Angels sometimes need an angel of their own too.
  • Good Cop/Bad Cop: There's the good cop, the bad cop, and the ugly cop. And the hot cop.
  • Green-Eyed Monster: Fernand (Whitney) to Edmond (Matt) in "Edmond and Fernand: BFFs", all while "graciously" congratulating his "friend", with the thinnest veiled hatred towards Edmund.
  • Henpecked Husband: Jason and Matt play these to Whitney (Carol) and Mallory (Jennifer) respectively in the “Christmas Cards” skit. As the feud between their wives reaches ridiculous levels, the two are helpless in their attempts of reasoning with them.
    • In "Celebirthsary" Matt is constantly challenged by Mallory to remember certain dates and events in their marriage, and goes out of her way to ensure he can't pick it up on context clues.
  • Hitler's Time-Travel Exemption Act: "Time Travel Heroes Stop Hitler" sees Jeremy teleport to Hitler's office in the Führerbunker in 1938, only to be joined by Dr. Emmett Brown (Jason), Bill and Ted (Stephen and James, respectively), and Hermione Granger (Mallory).
  • 0 Thoughts to “Studio C Classic Argument Essays

    Leave a comment

    L'indirizzo email non verrà pubblicato. I campi obbligatori sono contrassegnati *