The Comedy

The film opens with Swanson living on his boat in Brooklyn, surrounded by privileged friends who speak in sarcasm and derision. He drifts between parties and casual cruelty, exhibiting a hollow, apathetic charm that masks deeper disengagement. The scene establishes his leisure-bound lifestyle and contempt for those around him.

Swanson is aware his father is comatose and that he is poised to inherit the estate. The prospect of wealth hovers over him, shaping his attitude toward others and his own future. The moment sets up the film's satirical lens on privilege and dependency.

During casual talk, Swanson mentions having a brother who is institutionalized, a detail dropped into conversation without much elaboration. The remark hints at a troubled family background beneath his polished surface. It adds a threads of underlying fragility to his character.

Swanson and his friends relentlessly mock their less intelligent friend Cargill after he confesses they are important to him. The cruelty is casual and performative, illustrating how the group uses humor to belittle others. Cargill remains part of the circle despite the contempt.

At a party, Swanson flirts with a woman while sarcastically praising Hitler, revealing a disturbingly cavalier attitude toward others' feelings. The moment showcases his willingness to push boundaries for cheap laughs. It foreshadows the film's ongoing moral numbness.

The woman sleeps naked in Swanson's boat, and the next morning he ferries her back to land in a quiet, almost solemn manner. The moment contrasts his outward bravado with a lack of empathy. It demonstrates how entitlement governs his behavior even in intimate moments.

Swanson and his friends visit a church and proceed to desecrate various objects, creating a scene of blasphemous irreverence. The vandalism is presented as another instance of their aimless cruelty and performative indulgence. The setting shifts the film toward a critique of privilege and morality.

Swanson goes to a Harlem bar alone, flaunting his wealth and insulting Black patrons by suggesting he could gentrify the place. The confrontation highlights racial and class tensions and the comfort with contempt that pervades his world. The scene reinforces the film's unflinching portrayal of privilege without accountability.

In another stunt, Swanson pays a cab driver $400 to let him drive the car, then speeds through the streets while harassing a woman. The reckless display captures his impulse to dominate and control, regardless of consequences. It cements his pattern of dangerous bravado.

Growing bored, Swanson takes a part-time job as a dishwasher, entering a world far beneath his usual circle. His efforts are half-hearted and perfunctory, revealing a hollow pursuit of novelty. The job marks a rare foray into routine amid his typical idleness.

A waitress becomes involved with him emotionally and he brings her onto his boat. He flirts awkwardly and fails to make a real move, exposing his discomfort with genuine intimacy. Her presence introduces a rare potential for connection in his otherwise distant world.

The waitress suffers a seizure while with Swanson, and he watches with detached curiosity rather than offering help. This reaction underscores his emotional numbness and self-centered worldview. The moment deepens the sense that care rarely breaks through his indifference.

Van presents a slideshow of his childhood photos, interrupted by vintage pornographic images as a gag. The sequence underscores the group’s shallow, self-regarding humor and its eventual drift into unsettling silence. It highlights the emptiness beneath their outward bravado.

In the final sequence, Swanson visits the beach and plays in the water with a young child, an activity that seems to give him genuine, uncomplicated joy. The moment provides a fragile, fleeting glimpse of emotion amid a life of cynicism. It hints at a possible, though tenuous, emotional breakthrough.