Double act

This article is about comedy duos. For the novel, seeDouble Act (novel).

Adouble act(also known as acomedy duo) is a form of comedy originating in the Britishmusic halltradition,and Americanvaudeville,in which two comedians perform together as a single act, often highlighting differences in their characters' personalities. Pairings are typically long-term, in some cases for the artists' entire careers.Double acts perform on the stage, television and film.

Laurel and Hardy

The format is particularly popular in the UK where successful acts have includedPeter CookandDudley Moore(Cook's deadpan delivery contrasted with Moore's buffoonery),Flanagan and Allen,Morecambe and WiseandThe Two Ronnies.The tradition is also present in the US with acts likeWheeler and Woolsey,Abbott and Costello,Gallagher and Shean,Burns and Allen,andLyons and Yosco.The British-American comedy double actLaurel and Hardyhas been described as the most popular in the world.

Format

Humor is often derived from the uneven relationship between two partners, usually of the same gender, age, ethnic origin, and profession but drastically different in terms of personality or behavior; each one serves as afoilto the other. One member of the duo—the "straight man","feed "," dead wood ", or stooge—is often portrayed as reasonable and serious, while the other one—the funny man," banana man ", or comic—is portrayed as funny, less educated or less intelligent, silly, or unorthodox.When the audience identifies primarily with one character, the other is often referred to as a comic foil. The term "feed" comes from the way a straight man sets up jokes and then "feeds" them to his partner.

Despite the names often given to the roles, the straight man is not always humorless, nor is it always the comic who provides the act's humor. Sometimes the straight man gets laughs through sarcastic reactions to the comic's antics, such asStewart Lee'sdeadpan,reasoned reactions toRichard Herring's ridiculous antics intheir pairing.When the straight man serves no specific comic purpose, but acts as a device to make the comic look good, he is known as a stooge. Sometimes considered a derogatory term, "stooge" began to fall out of use by the 1930s withThe Three Stooges.Most often the humor in a double act comes from the way the two personalities play off of each other, rather than from the individual players. In many successful acts the roles are interchangeable.

History

Early development

Lyons and Yosco,vaudeville act and ragtime composers from the 1910s

The model for the modern double act began in the British music halls and the American vaudeville scene of the late 19th century. Here, the straight man was needed to repeat the lines of the comic because audiences were noisy. A dynamic soon developed in which the straight man was a more integral part of the act, setting up jokes for the comic to deliver a punch line. Popular draws included acts likeGeorge BurnsandGracie Allen(who initially operated with Burns as the comic but quickly switched roles when Gracie's greater appeal was recognized), Abbott and Costello,Flanagan and Allen,Gallagher and Shean,Smith and Dale,andLyons and Yosco.The dynamic evolved, with Abbott and Costello using a modern and recognizable formula in routines such asWho's on First?in the 1930s and Flanagan and Allen using "cross talking".

Gallagher and Shean,a popular vaudeville act of the 1920s

Though vaudeville lasted into the 1930s, its popularity waned because of the rise ofmotion pictures.Some failed to survive the transition to movies and disappeared. By the 1920s, double acts were beginning to attract worldwide fame more readily through thesilent era.The comedy was not derived from "cross-talk" or clever verbal exchanges, but throughslapstickroutines and the actions of the characters.

The first double act to gain worldwide fame through film was the Danish duoOle & Axel,who made their first film together in 1921. The latter half of the same decade introduced to the world the inimitable team ofLaurel and Hardy.The pair had never worked together on stage (they did as of 1940), though both had worked in vaudeville—Stan LaurelwithCharlie Chaplinas part ofFred Karno's Army andOliver Hardyas a singer. Laurel could loosely be described as the comic, though the pair were one of the first not to fit the mold in the way that many double acts do, with both taking a fairly equal share of the laughs. The pair first worked together as a double act in the 1927 filmDuck Soup.The first Laurel and Hardy film was calledPutting Pants on Philipthough their familiar characters had not yet been established. The first film they both appeared in wasLucky Dogin 1921. Laurel and Hardy adapted well to silent films, both being skilled at slapstick, and their nonverbal interplay with each other and the audience became famous—Laurel's cry and Hardy's downtrodden glances to the camera whenever something went wrong—and were carried over to their latertalkies.They were one of the few silent acts who made a successful transition to spoken word pictures in the 1930s, showing themselves to be equally adept at verbal wordplay.

1940s–1960s

Martin and Lewis

In 1940 was the release of Laurel and Hardy'sSaps at Sea,their final film for long-term producer and collaboratorHal Roach.Later their popularity declined. In 1940s America the double act remained a cinema draw, developing into the"buddy movie"genre, with Abbott and Costello making the transition from stage to screen and the first ofBob HopeandBing Crosby'sRoad to...series in 1940. Further acts followed. For example, the first pairing ofDean MartinandJerry Lewisoccurred in 1946. About the same timeThe Bickersonsbecame popular on radio.Mel BrooksandCarl Reinerstarted their2000 Year Old Manrecordings and subsequent television appearances in 1961. The genre has continued to exist in cinema while making a successful transition to radio and later TV viaThe Smothers BrothersandRowan and Martin's Laugh In.

In Britain, double acts were confined to theatres and radio until the late 1950s, when double acts such asMorecambe and WiseandMike and Bernie Wintersslowly began the transition to TV on variety shows such asSunday Night at the London Palladium.These acts came into their own in the mid- to late-1960s. When Morecambe and Wise teamed up with writerEddie Braben,they began to redefine what was meant by a double act, with Wise, the straight man, being developed into a comic character in his own right. They provided the link between music hall and modern comedy for double acts.As the two leading double acts of the day, Morecambe and Wise and the Winters brothers enjoyed a playful rivalry—the Winters mocked the slight edge Morecambe and Wise had over them in popularity, while Morecambe, when asked what he and Wise would have been if not comedians, replied "Mike and Bernie Winters".

A series of black-and-white films based onDon Camillo and Pepponecharacters created by the Italian writer and journalistGiovannino Guareschiwere made between 1952 and 1965. These were French-Italian coproductions, and starredFernandelas the Italian priest Don Camillo andGino Cervias Giuseppe 'Peppone' Bottazzi, the Communist Mayor of their rural town. The titles are:The Little World of Don Camillo(1952),The Return of Don Camillo(1953),Don Camillo's Last Round(1955),Don Camillo: Monsignor(1961), andDon Camillo in Moscow(1965). The movies were a huge commercial success in their native countries. In 1952,Little World of Don Camillobecame the highest-grossing film in both Italy and France,whileThe Return of Don Camillowas the second most popular film of 1953 at the Italian and French box office.

Franco and Ciccio

Franco and Cicciowere a comedy duo formed by Italian actorsFranco Franchi(1928–1992) andCiccio Ingrassia(1922–2003), particularly popular in the 1960s and 1970s. Their collaboration began in 1954 in the theater field, and ended with Franchi's death in 1992. The two made their cinema debuts in 1960 with the filmAppuntamento a Ischia.They remained active until 1984 when their last film together,Kaos,was shot, although there were some interruptions in 1973 and from 1975 to 1980.Together, they appeared in 112 films.They acted in films certainly made in a short time and with few means, such as those shot with directorMarcello Ciorciolini,sometimes even making a dozen films in a year, often without a real script and where they often improvised on the set. Also are the 13 films directed byLucio Fulci,who was the architect of the reversal of their typical roles by making Ciccio the serious one, the sidekick, and Franco the comic one.They also worked with important directors such asPier Paolo Pasoliniand theTaviani brothers.Considered at the time as protagonists ofB movie,they were subsequently reevaluated by critics for their comedy and creative abilities, becoming the subject of study.The huge success with the public is evidenced by the box office earnings, which in the 1960s, represented 10% of the annual earnings in Italy.

Throughout the 1960s and 1970s, the traditional formula was shunned byThe Two Ronnies,who completely dispensed with the need for a straight man, andPeter CookandDudley Moore,twoOxbridge-educated comedians who used the double act to deliver satire and edgy comedy.

1970s

Terence Hill and Bud Spencer

Internationally the most popular double act of the 1970s was the Italian duoTerence Hill and Bud Spencer.The team had already made three straight westerns together during the 1960s but turned their act towards slapstick in their fourth (They Call Me Trinity,1970), with massive success.

Light entertainment in Britain in the 1970s was dominated by Morecambe and Wise, who enjoyed impressive ratings, especially on their Christmas specials. Although Mike and Bernie Winters's popularity declined, The Two Ronnies' success grew while Peter Cook and Dudley Moore sporadically produced acclaimed work, in particular, their controversial recordings asDerek and Clivefrom 1976 to 1978.

The mid-to-late 1970s saw a resurgence in American double acts.Blazing Saddles(1974) featured a memorable performance byMel BrooksandHarvey Korman(who later teamed up again in Brooks's 1981 follow-upHistory of the World, Part I).Saturday Night Live,first broadcast in 1975, provided an outlet for comedians to appear in sketches as double acts and continues to do so. It was here thatDan AykroydandJohn Belushihoned their charactersThe Blues Brothers,who were soon pulled to fame in the 1980 buddy movie of the same name.Gene WilderandRichard Pryoralso embarked on a string of successful buddy films in the 1970s.Cheech & Chongalso gained massive popularity during this time.

Occasionally, the straight-man/funny-man dynamic appeared in unexpected contexts between characters not normally thought of as comics. This often appeared in theJames T. Kirk(William Shatner)/Mr. Spock(Leonard Nimoy) relationship in several episodes of the originalStar Trekseries.

1980s

Fry and Laurie

Morecambe and Wise had dominated British light entertainment throughout the 1970s, but their presence waned in the early 1980s. When Morecambe died moments after finishing a solo show in 1984 (his last words were 'I'm glad that's over'), the best-loved double act in British comedy came to an end, and several new acts emerged. The two distinct groups could not have been more different.

In the wake ofNot the Nine O'Clock News,The Young Onesand the breakthrough onto television of "alternative comedy"cameFrench and Saunders;Fry and Laurie;Rik MayallandAde Edmondson;Hale and Pace;andSmith and Jones.These edgier comics were brasher and crude—comedy's answer topunk rock.They developed the satire and vulgarity of Peter Cook and Dudley Moore rather than the more gentle humour of Morecambe and Wise and The Two Ronnies. In fact, Smith and Jones showed blatant disregard for their predecessors, openly mocking the Two Ronnies (this may have been a factor inRonnie Barker's decision to retire from comedy in the late 1980s).

1990s–present day

The early 1990s saw comedy become "the new rock and roll"in Britain and this was inherent in the work ofNewman and BaddielandPunt and DennisonThe Mary Whitehouse Experience.Newman and Baddiel, in particular, symbolized this rock and roll attitude by playing the biggest ever British comedy gig atWembley Arena.With this came tension. Newman and Baddiel fell out with Punt and Dennis, not wishing to share screen time with them, and then with each other.David Baddielwent on to form another successful double act withFrank Skinner.

Reeves and Mortimer

The 1990s also saw the introduction of one of comedy's strangest yet most successful double acts inReeves and Mortimer.They at the same time deconstructed light entertainmentand paid homage to many of the classic double acts (Vic Reeves would even do an Eric Morecambe impression onVic Reeves Big Night Out). They simultaneously used very bizarre, idiosyncratic humour and traditional double act staples (in later years they became increasingly reliant on violent slapstick).

Another double act that emerged in the mid to late 1990s wasLee & Herring,who combined a classicclash of personalities(downbeat and rational Lee contrasting with energetic, childish Herring) with very ironic, often satirical humour.

Also appearing in the latter half of the decade wereAdam and Joe,whose low-budget, self-producedChannel 4seriesThe Adam and Joe Showwas a very sharp combination of TV and movie parodies and satirical looks at various elements of youth culture.

Indian cinema also had its share of the double act, withTamil cinemacomediansGoundamaniandSenthilteaming up for several films throughout the decade, similarlyKota Srinivasa RaoandBabu MohaninTelugu cinema.

InSri Lanka cinema,the famous double act is found with comediansBandu SamarasingheandTennison Cooraywhere they pioneered Sri Lankan commercial film industry in the 2000s.

The British duoMitchell and Webbare another successful double act from the 2000s onwards, having multiplesketch showson both radio and TV as well as starring in the award-winning sitcomPeep Show.

For over 20 years, AustraliansHamish BlakeandAndy Leehave worked together asHamish & Andy,having multiple successful TV shows and a very popularradio showandpodcast.

Most of the most successful double acts in the early 2000s take their inspiration from the odder strain of double-act comedy spearheaded by Reeves and Mortimer.Matt LucasandDavid Walliams,who had previously worked with Reeves and Mortimer, also took inspiration from the Two Ronnies.The Mighty Booshalso played with the formula but essentially remained traditional at their roots. Another popular currentlight entertainment/presentingcomedy act isAnt & Dec,who are a very basic yet effective example of a double act.

In early 2012, comediansKeegan-Michael KeyandJordan Peeleappeared in a sketch comedy TV show titledKey & Peeleairing onComedy Central.

Many modern-dayYouTubechannels follow this format. Some examples includeSmosh,Dan and Phil,theGame Grumps,andRhett and Linkof the YouTube channelGood Mythical Morning,

United Kingdom

Mitchell and Webb

In itsBritishform, the two actors would usually be composed of a "straight man" or "feed" and a "comic", the purpose of the feed is to set up jokes for the comic. This would rely heavily on comic timing.

Morecambe and Wiseare arguably the quintessential British double act. They followed the traditional formula withEric Morecambeas the comic andErnie Wiseas the feed. Other British acts such asThe Two Ronnies,Hale and Pace,Vic and Bob,French and Saunders,Mitchell and Webb,Fry and Laurie,Ant & Dec,Punt and Dennis,Lee and Herring,Armstrong and Miller,Peacock and GambleandDick and Domdisplay the role of "comic" and "straight man" in a less obvious, largely interchangeable way or are dispensed with altogether. More obvious British examples of the comic-feed dynamic areCannon and Ball,Little and Largeor the children's entertainersThe Chuckle Brothers,where the straight man acted largely as a humourless set up for the comic.

Peter CookandDudley Moorewere perhaps the first double act to go against the grain as turned their double act into a complex analysis of their relationship. In many of the sketches (especially thePete and Dudexchanges) Cook played the domineering know-it-all (who knows nothing) and Moore the put-upon dimwit (who also knows nothing).

This dominance was accentuated by the difference in height between the two, and the speed of Cook's mind, which meant that he could ad lib and force Moore tocorpsein a Pete and Dud dialogue, leaving him helpless to respond. As the partnership progressed into the often-improvisedDerek and Clivedialogues, these light-hearted attempts to make Moore laugh became, as a result of Cook's growing insecurity and alcoholism, aggressive attacks on the defenseless Moore. Carrying the tradition of going against the grain of traditional double acts, when the partnership dissolved in the late 1970s, it was Cook whose career stalled due to boredom, alcoholism and lack of ambition, while Moore went on to become one of Hollywood's most unlikely leading men.

Sitcoms

The double act has become a popular theme inBritish sitcoms.One of the earliest examples of this was the relationship betweenTony HancockandSid Jamesin theGalton and SimpsonseriesHancock's Half Hour.James played a down-to-earth character while Hancock was pompous and haddelusions of grandeur,and the comedy was derived from the two playing off each other's characteristics.

A common trend in sitcoms is to place the double act in a situation where they are forced together through uncontrollable circumstance. In another Galton and Simpson production,Steptoe and Son,a son, with great ambition, was forced to live with his elderly,manipulativefather as arag and bone man.The comedy derives from the way the characters interact in their tempestuous relationship. The series also has more heart-rending moments as the son despairs at his inability to escape his needy, selfish, grasping father.

Porridgesaw "an habitual criminal",Fletcher(played byRonnie Barker,already famous for his comedy partnership withRonnie Corbett) and a young, naive, first-time prisoner,Lennie Godber.The two would bicker but endured a relationship of mutual respect. Barker also formed a partnership withDavid JasoninOpen All Hours,with Jason playing Granville while Barker played Albert Arkwright. Many don't see this as a comedy duo, but the straight-man element coupled with Barker's funny-man antics on the show are still compressed into the script.

Rik MayallandAde Edmondsoncombined their success in sitcoms (The Young Ones) and as a double act (The Dangerous Brothers) in 1991 when they createdBottom.Their characters are a pair of sad, pathetic losers forced together by their mutual hopelessness. However, unlike earlier examples of such, the characters inBottomabsolutely hate each other, exacerbating their despair. This often leads to slapstick violence, such as hitting each other with frying pans. Mayall and Edmonson have saidBottomaimed to be more than just a series of toilet gags—it was meant to be a cruder cousin to plays likeWaiting for Godotabout the pointlessness of life.

Other popular double acts in British sitcoms include complex relationships involving status and superiority themes: inDad's Army,the social climbing envy ofCaptain George Mainwaring,to his right-hand man (Sergeant Arthur Wilson) who is of higher status than him; and inRed Dwarf,the working class everymanDave Listerto the middle class but socially-awkwardArnold Rimmer.However, the most prominent double act is that of an intelligent person and his inferior sidekick, such as Basil and Manuel ofFawlty Towers,Blackadder and Baldrick ofBlackadder,or Ted and Father Dougal of the Irish sitcomFather Ted.

In recent years, double acts as sitcoms appear to have gone full circle, as illustrated by the cult success ofThe Mighty Boosh.For the relationship between the two main characters this series uses a formula very similar to that between Sid and Tony inHancock's Half Hour– that of an arrogant character whose best friend can see his faults and keeps him grounded. A similar dynamic is used inPeep Showin which the characters ofMitchell and Webbwere adapted for the sitcom formula. In this case both characters have a degree of egotism. The difference between the pair is the free-spirited, uneducated and selfishness of Jeremy and the intellectual arrogance but shyness of Mark.

U.S. and Canada

Abbott and Costello

In theUnited StatesandCanada,the tradition was more popular in the earlier part of the 20th century withvaudeville-derived acts such asLaurel and Hardy,Abbott and Costello,Burns and Allen,Jackie GleasonandArt Carney,Wheeler & Woolsey,andLyons and Yoscoand continuing into thetelevisionage withMartin and Lewis,Kenan & Kel,Bob and Ray,theSmothers Brothers,Wayne and Shuster,Allen and Rossi,Jack BurnsandAvery Schreiber,Rowan and Martin,Mike NicholsandElaine May,theWayans Brothers,Stewie GriffinandBrian GriffinfromFamily Guyand Shawn and Gus inPsych.The seriesI Love Lucywas known for its double acts, andLucille Ballserved as foil to both her husbandDesi Arnazand toVivian Vance.Vance could also serve as foil toWilliam Frawleywhen the situation required. Vance and Ball would again serve as a double act in their next seriesThe Lucy Show.More recently, the model has been largely supplanted by that of the "buddy movie"genre, which has introduced several notable comedy partnerships not formally billed as a single" act "in the traditional manner. The earliest example of such a team may have beenBob HopeandBing Crosby;later examples includeGene WilderandRichard Pryor,Burt ReynoldsandDom DeLuise,Dan AykroydandJohn Belushi,Corey HaimandCorey Feldman,David SpadeandChris Farleyand child starsDrake BellandJosh Peck.Based on the gag-man/straight-man concept, "Stoner" duos likeCheech & Chong,Jay & Silent Bob,andHarold & Kumarhave also proven quite popular with audiences. The double act format can also be used in presenting noncomedic information in an entertaining manner, such asSavage/Hynemanpair of the Discovery Channel'sMythBusters(which Savage stated was unintentional when they began the series but naturally grew into a double act as the result of their own conflicting personalities).From 2006 to 2010,Appleused the double-act formula successfully in its popular series ofI'm a Mac/And I'm a PCads withJohn HodgmanandJustin Long.

Italy

Cochi e Renatoin 1972

Ric e Gianin 1972

Ficarra e Piconeat the 2010Giffoni Film Festival

InItalythe tradition was more popular in the late part of the 20th century withBattaglia & Miseferi,Cochi e Renato,Ficarra e Picone,Fichi d'India,Gigi e Andrea,Katia & Valeria,Lillo & Greg,Pio e Amedeo,andRic e Gian.Cochi e Renatowere childhood friends, and they grew accustomed to perform together in front of an audience of friends and relatives.Their professional debut took place in 1965 in the small cabaret club Cab 64 inMilan,where they performed along withLino ToffoloandBruno Lauzi.They were also joined byEnzo JannacciandFelice Andreasiwith whom they formed the comedy ensemble Motore, who had a good success in Milan.The couple became first known in the late 1960s thanks to theRAIinnovative variety showsQuelli della domenica(1968) andÈ domenica, ma senza impegno(1969).Characterized by a peculiar comic verve, filled with paradoxical and surreal moods, their popularity increased in the early 1970s with the variety showIl poeta e il contadinoand with the participation with the musical showCanzonissima.The couple began to crack in 1974, when Renato started devoting himself to a full-time film career.After a long separation, Cochi e Renato reunited in 2000s for a series of television and stage projects.Cochi e Renato were also very active as singer-songwriters (often with the collaboration ofEnzo Jannacci), and they had several commercial hits;their most successful song is "E la vita la vita", which reached the first place at the Italian charts in 1974.

Ric e Gianmet in anavanspettacoloat the Teatro Maffei in Turin, where Ric worked as a dancer and Gian was thesidekickof the actor Mario Ferrero.They then decided to performing together asJerry e Fabioand worked in various theaters, nights and cabarets in Northern Italy as well as at theCrazy HorseinParis.Noted by film producerAngelo Rizzoli,they renamed themselves Ric e Gian in 1962 and made their film debut inIschia operazione amore(1966).Starting from the late 1960s, the couple gained popularity thanks to their participation in several prime timeRAIvariety shows.In the mid-1970s they focused on theatre, and between late 1970s and early 1980s their popularity revamped thanks to a number ofAntenna 3andFininvesttelevision shows they took part in.In 1987 the couple split to pursue some solo projects, before briefly reuniting between 2002 and 2006 for a number of stage shows and plays.

Gigi e Andreastarted performing together in small theaters, cabarets and hostelries inBolognain the second half of the 1970s.They debuted in 1978 on theRai 1variety showIo e la Befana.The year before they had appeared for the first time on TV inA modo mio,directed byMemo Remigi.In the 1980s, the couple starred and co-starred in several comedy films which were usually badly received by critics but of commercial success.The same period, their presence on the small screen also became more intense, especially onFininvestvariety shows and television films.In the 1990s, having reached a more than respectable success, the couple split in order to pursue solo projects.

Ficarra e Piconestarted in 1993 along with Salvatore Borrello as a comedy trio, performing together on stage as "Chiamata Urbana Urgente".In 1998, the two remaining members began to use their surnames: Ficarra & Picone.In 2000, Ficarra e Picone made their film debut withAsk Me If I'm HappybyAldo, Giovanni & Giacomo,and two years later they made the first film as main actors,Nati stanchi.On 25 April 2005, Ficarra and Picone were the TV anchor-men four episodes ofStriscia la notiziato which they collaborated from 27 March 2006 up to 5 December 2020.In 2007 they debuted as directors alongsideGianbattista Avellinowith the filmIl 7 e l'8,for which they were nominated toDavid di Donatellofor Best New Directorand toSilver Ribbonin the same category.Also in 2007 they were featured as comic characters in the storyZio Paperone e il rapimento teatrale(trad.Uncle Scrooge and the Theatrical Kidnapping), published in the issue 2678 ofTopolino.

China

Main article:xiangsheng

InChina,xiangsheng(also known as crosstalk) is a traditional comedic performance usually in the form of a dialogue between two performers.

Japan

Main article:manzai

InJapanthemanzaitradition parallels that of the double although it is more formulaic.Here there is a distinguished straight man (tsukkomi) and funny man (boke) and the humor consists of quick slapstick jokes, comical stories and social misunderstandings.

Germany

In GermanyTünnes and Schäl(since 1803/1850s), twoColognepuppet theater characters, fit to the concept of fool and straight man.

During WWIITran and Helleappeared in a number of short films to deter Germans from actions detrimental to Germany's war effort or security.

Between 1950 and 1980, the most popular comedy duo ofEast Germany,Herricht & Preil,ran a very successful double act, withHans-Joachim Preilas the straight man andRolf Herrichtas the comic.

Notable examples

• Abbott and Costello
• Ant & Dec
• Armstrong and Miller
• Barry and Stuart
• Bob HopeandBing Crosby
• Cheech & Chong
• Dan and Phil
• Flight of the Conchords
• Franco and Ciccio
• French and Saunders
• Fry and Laurie
• Gallagher and Shean
• Hale and Pace
• Hamish & Andy
• The Inspired Unemployed
• Jake and Amir
• Jay and Silent Bob
• Key & Peele
• Lano and Woodley
• Laurel and Hardy
• Lum and Abner
• Little and Large
• Martin and Lewis
• Mel and Sue
• Merrick and Rosso
• Mitchell and Webb
• Newman and Baddiel
• Nichols and May
• The Pin
• Penn & Teller
• Puppetry of the Penis
• Randy and Jason Sklar
• Steve MartinandMartin Short
• Rhett & Link
• Roy and HG
• Smith and Dale
• Smosh
• Sonny & Cher
• Stiller and Meara
• Tenacious D
• Tim & Eric
• The 2 Johnnies
• The Umbilical Brothers
• Trixie and Katya
• Vic and Bob
• Ylvis