Offence as a Social Signal

Taking offence is often dismissed as oversensitivity, like someone just needs a thicker skin or a better sense of humour.
But philosophers like Emily McTernan argue it has a social function.
Offence is a way of saying: a boundary has been crossed, a norm has been violated, respect has been withheld.
It’s not just about feelings; it’s about standing up for dignity, either your own or your group’s.
And sometimes, the most dignified thing you can do is raise an eyebrow and say, “Nice try, but no.”

In that sense, offence is a kind of negotiation.
It tells others: this behaviour isn’t acceptable here.
It’s how social norms shift, not with shouting, but with a well-timed “Oi.”

Think of how racist or sexist remarks that once passed unchallenged are now more likely to be called out.
That change didn’t happen by accident; it happened because people took offence, voiced it, and slowly reshaped what society tolerates.
And yes, sometimes the reshaping happens mid-laugh because humour is where norms go to stretch, bend, and occasionally snap.

So, when is an offence justified? Broadly:

• When harm is reinforced: If words or actions sustain stereotypes, belittle groups, or normalise inequality.
• When dignity is denied: If someone is treated as less than fully human.
• When power is abused: If the target is already vulnerable, and the offence comes from a position of privilege.

In those cases, offence isn’t fragility.
It’s resistance.
It’s the social equivalent of saying, “That joke’s not broken, it’s just aimed in the wrong direction.”

But here’s the tension: surveys in the UK show the public is evenly split.
Half think people are “too easily offended.”
Half think we should be more sensitive.
The other half is still trying to figure out how maths works.

For some, offence is censorship.
For others, it’s accountability.
And for comedians? It’s a masterclass in timing, tone, and knowing when to pivot.

Jokes are where this tension plays out most vividly.
Humour thrives on breaking norms, that’s why it makes us laugh.
It’s the surprise, the twist, the “did they just say that?” moment.

• Punching up: Jokes aimed at the powerful, the privileged, the absurdities of authority. These often feel liberating.
• Punching down: Jokes aimed at the marginalised, the poor, the disabled. These reinforce hierarchies. That’s when offence isn’t just understandable, it’s necessary.

Intent matters.
But impact matters more.
A comedian may say, “I didn’t mean it that way,”
But if the laughter comes at the expense of someone’s dignity, the harm is real.
And the punchline becomes a punch.

Jokes complicate offence because they hide critique behind comedy.
They’re Trojan horses for truth or for cruelty, depending on the rider.

If you object, you risk being told you “can’t take a joke.”
That’s a silencing tactic.
It shifts the blame from the speaker to the listener.
But as McTernan points out, humour is never neutral.
It either sustains or challenges social hierarchies.

• When the humour reinforces harm rather than relieving it
• When it silences rather than liberates
• When it disguises cruelty as wit

Offence, in general, is not weakness.
It’s a tool for negotiating respect.
And jokes are the sharpest test case because they blur the line between play and harm.

The healthiest laughter is the kind that unsettles power, not the kind that tramples the already vulnerable.
And the best jokes? They punch up, wink sideways, and leave the room thinking.

A joke is never “just a joke.”
It’s a cultural act.
Offence is warranted when humour disguises cruelty as comedy.
But humour also has the power to reveal, reframe, and repair.

The art is knowing the difference and having the courage to laugh when it’s liberating, and speak up when it’s not.

Because sometimes, the joke is the insight.
And sometimes, the punchline needs a little editing.

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