Today, this style of humor not only entertains but also fosters inclusivity, a staple in maintaining social harmony, shared joy, as well as navigating tension—even if it sometimes comes at the expense of oneself or others.

Most noticeably, this has translated through the most successful comedy movies of recent years. As the likes of The Big 4, My Stupid Boss 2, and Agak Laen had an extensive reach, the latter even managed to penetrate international box offices—with plans on the horizon for an adaptation by the company behind the Oscar-winning Korean film Parasite. Largely owed to these films’ ability to capture and reflect the realities of modern-day Indonesia, the humor feels both authentically and unapologetically local. Which is (intentionally) also what’s most loved by the fans of the creators behind these pictures—as people who first discovered them through their stand-up sets, YouTube channels, or while listening to podcasts, captivated by their narrative-driven comedic stylings that feel real and relatable to their own lives.

This can be traced back to the roots of Indonesian humor itself. Witty and intelligent by nature, Indonesian humor often weaves in values like gotong royong (mutual cooperation) and neighborliness, making it a preferred outlet to restore emotional balance, especially in difficult times. Most notably, this distinct style of humor is deeply rooted in the legacy of past comedic greats.

From the Betawi-influenced eccentricity of the legendary comic Benyamin Sueb in the 1960s and ‘70s, to the slapstick and socially charged satirical TV series’ Warkop DKI in the ‘80s and Lenong Rumpi in the ‘90s, Indonesian comedy has always evolved with the times. By the 2000s, Get Married and Arisan! marked a new era for comedy feature films, shifting towards more youthful, relatable narratives that blended comedy with sharp social commentary—often poking fun at urban life, class dynamics, and the pressures of familial expectations. 

However, in recent decades, critics and fans alike have pointed out that modern Indonesian comedy is in need of a refresh. As political and economic uncertainty continues to shape contemporary pop culture, the comedy scene has, in many ways, stagnated. Since the 2000s, much of it has leaned on shallow punchlines and surface-level humor—often lacking the depth, nuance, and cleverness of its predecessors. At times, the jokes even veer into territories that feel unnecessarily mean-spirited or cruel.

There are many contributing factors to this shift—and just as many who might disagree. Stylistically, modern Indonesian comedies might lean too heavily on narrative-driven humor, often diluting the complexity and sharp wit that once defined the genre. This is especially apparent with creators emerging from digital platforms like YouTube, where the fast-paced content model can at times give the impression of reduced dedication to the craft. 

Things are made even worse by a lack of inclusivity.—or worse, token representation that comes at the expense of communities relegated to punchlines. The absence of prominent women in comedy today is particularly noticeable, especially when compared to the 2000s where figures like Nycta Gina and Tika Panggabean were household names through shows like Extravaganza. Even openly effeminate male comedians like Aming and Olga Syahputra were once far more visible than similar voices are today.

In stark contrast, it has become increasingly common to ridicule or mock the very elements that once made Indonesian comedy more inclusive.

Even among said successful films—Agak Laen, for example—faced criticisms for its insensitive portrayals, which included jokes at the expense of women, lower-class communities, and people with disabilities. This troubling pattern of targeting marginalized groups isn’t new; it can be traced back to films like Arisan! in the early 2000s, where depictions of gay men are reduced to stereotypes. Which should be all the more reason to retire this pattern of ridicule, and push for a stronger push toward more intelligent and thoughtful comedy.

No matter what or which direction Indonesian humor takes, there must always be space for greater inclusion.

Alternative comedic voices, even those outside the current mainstream, should be given the room to grow and eventually take their rightful place in the broader landscape of Indonesian comedy.