One of the main reasons that we watch sitcoms is because we recognise ourselves in the characters on the screen. Not that situational comedy is realistic per se: no person in the real world could manage to take up as many careers - and make as many pratfalls while pursuing them - as Frank Spencer in Some Mothers Do 'Ave 'Em, nor would an actual hotel proprietor insult as many patrons as Fawlty Towers' Basil and still be in business. Some sitcoms even change core elements of premise and genre for the sake of one episode. For example, Homer Simpson might be involved in a romantic story this week, and a science fiction one the next.

        However, at the core of good situational comedy lies at least an element of recognition, something that reminds you of challenges you face in your own life, and makes you laugh as a result. In his popular guidebook "Writing Television Sitcoms", screenwriter Evan Smith describes how this can be 'written into' a sitcom screenplay:

"Many times, universally shared miseries can serve as half of your setup. Go after someone or something that causes tension in people's lives, and that tension will feed right into your joke."

        Consider, for example, how much the following excerpt from an episode of Seinfeld depends upon our ability to relate to a joke's premise; Jerry and Elaine (two of the protagonists on the show) are trying to rent a car, but an obnoxious rental agent, Lydia, is refusing to honour Jerry's reservation:

JERRY
Well, what was the point to the reservation? Why did I make a reservation?

LYDIA
I didn't take your reservation. Let me speak to my supervisor.

(LYDIA CROSSES TO HER SUPERVISOR.)

Note: Jerry and Elaine remain on-screen throughout the scene, with Lydia and her co-worker visible in the background.

JERRY
(TO ELAINE) She's going to talk to her supervisor. You know what shes's saying over there? "Hey Marge, these people think I'm talking to you so just pretend you're talking to me. Okay, now you start talking."

ELAINE
(PLAYING ALONG) "Oh, you mean like this? So it looks like I'm saying something back to you even though I'm not saying anything at all."

JERRY
"Good. Now I'll say something else and they won't yell at me because they think I'm checking with you."

ELAINE
"Great. I guess that's enough. I'll see you later."

JERRY
"Okay. Thanks. I'll go back and talk to them and tell them I spoke to you."

LYDIA
(RETURNS) I'm sorry, my supervisor says there's nothing we can do.

        Clearly, this scene wouldn't have half as much comedic impact on a viewer that has no experience with corporate bureaucracy. One might argue, however, that the recognition of the situation need not be specific to the situation on-screen: viewers who have never rented a car might have experienced a situation that was similar enough to the one in the story, and so the 'shared misery' still strikes a universal chord.***