No matter what you think about her basis in Lacanian psychoanalysis ("It doesn’t stop not being written. Since it cannot be written, it doesn’t stop not being written, it doesn’t stop, it persists as necessary in its very impossibility,") even if you're no neophyte comedy wonk, you come away with the impression that no one in the history of philosophy nor the history of comedy has ever thought about it all this intensely.* Four stars.
*"Human beings are composed neither of the biological and the symbolic, nor of the physical and the metaphysical—the image of composition is misleading. Human beings are, rather, so many points where the difference between the two elements, as well as the two elements themselves as defined by this difference, are generated, and where the relationship between the two dimensions thus generated is being constantly negotiated.
There is no 'pure life' or 'pure Symbolic' prior to this curious intersection. The generating point of the Symbolic is this paradoxical joint, and the Symbolic as a wholly independent, autonomous realm is something produced—it is produced at the periphery of the movement generated by the intersection, and retroactively affecting its own point of generation—its own 'birth,' so to speak. The nature of this intersection is such that we can precisely not see it as an intersection; we cannot put a finger on it and say: Voilà, it is here that 'nature' is becoming 'culture.' This passage can be noticed and established only from the latter point, that is to say, from where it has already taken place. In other words, the double circular movement described corresponds in fact to the movement along the surface of the Möbius strip: we start, say, at an extreme point of one side, and without ever passing to the other side, we end up at an extreme point of it. This brings us back to the point—or, more exactly, two points—made in Part I of this discussion of comedy. First, what the topology of the Möbius strip reveals is that the missing link that structures our reality is not a missing link between two neighbor elements, the connection between which would thus be interrupted—instead, its very missing is the linkage between two neighbor elements; it is what makes it possible for them to 'fit' into each other. Second, comedy forces this constitutive missing link to appear as something—not by trying to provide its own version of the (always fantasmatic) moment of the passage of one side into the other, but by producing a short circuit between two sides, and sustaining it ('playing with it') as a possible articulation of the impossible. It is here that comedy fully affirms itself as the genre of the copula that articulates together, in its specific way, the two heterogeneous dimensions of the same reality."