Wes D. Gehring’s Screwball Comedy presents a thorough analysis of the said genre. Chapter 6, “The Screwball Genre and Comedy Theory,” applies comedy theory to screwball comedy. The first part of the chapter presents a “superiority theory” and applies it to the genre of screwball comedy. The model focuses on three key aspects: “the concept of implosion, genre space and conflict, and the comic tendencies of pivotal directors.”

Screwball makes fun of the status quo—in particular of the wealthy. However, it is done as to “grow fond of these wealthy wackos, in a superior sort of way.” Moreover, Gehring believes that screwball minimizes “socioeconomic differences of the leading duo and key on their initial conflicts concerning eccentric behavior.”

Gehring then reverts back to political implosion and space and conflict. It is argued that the leftist movement of the 1930s was upset that Hollywood focused on the Depression despite the public’s fondness of such topics. Gehring then discusses how screwball doesn’t have “determinate space” and isn’t concerned with “threatened space,” but rather society and attempting to adjust to the “cultural milieu.”

The chapter then moves to discuss Henri Bergson’s Theory of Superiority. There are three components of character development that can be applied to screwball comedy: absentmindedness, inversion, and supporting comedy characters as satellites of the lead performer. It is described that absentmindedness usually comes from the lead male performer. It can be seen through rigidity, as is the case with the slightly aloof Godfrey. Inversion is then described as when “‘certain characters in a certain situations’ pull a switch.” This can appear when the antihero male believes he is in charge of his life, but isn’t. Gehring then describes the incident in Godfrey when Irene (Carole Lombard) tells Godfrey (William Powell) that he “is my responsibility now.”

Gehring then presents three key items that differentiate female “activity” from that of the male. Firstly, the female assumes the eccentricity mainly to win over the male. Despite her zealousness, Irene (Lombard) displays rationality, telling her sister “you can’t rush a man like Godfrey.” Secondly, there is a double standard with respect to the reversal of “stereotype gender activity.” Thus, the female heroine is allowed to be aggressive. Lastly, is the” battle of the sexes.” It is argued that the female eccentricity is not anti-social because of her desire towards marriage—a societal foundation.

The final part of the chapter deals with satellite characters. Gehring describes the supporting characters as antiheroic and sometimes fatherly. This applies to Godfrey as the father character, Alexander Bullet, is indeed the true forgotten man as well as a satellite father figure.