Roswell is my least favorite layover city.

The punchline is based on the visual pun of cells as airline passengers, combined with the Roswell reference, suggesting that the cells might be aliens who are going to finish those cells.

The joke is that the cells are depicted as polite travelers, contrasting with the usual annoying passenger stereotypes, and the caption references a common airport complaint.

The humor arises from the unexpected presence of alien cells as airline passengers, playing on the Roswell UFO incident and the mundane act of asking about leftover food.

The humor comes from the juxtaposition of scientific imagery with everyday travel scenarios, implying that the woman is a biologist studying cells on a plane to Roswell.

The humor comes from the caption's complaint about Roswell as a layover city, implying aliens are common there, combined with the image showing alien-like creatures on a plane, creating an unexpected and absurd scenario.

The humor arises from the juxtaposition of mundane airplane etiquette (asking about unfinished food) with the absurd presence of what appear to be alien organisms occupying seats on the plane.

The punchline is based on the double meaning of "cells," referring both to biological cells (the alien-like creatures) and prison cells, suggesting the aliens are being transported as prisoners.

The humor stems from the contrast between the casual request about food and the horrifying realization that the speaker is addressing potentially dangerous alien life forms on a commercial flight.

The cartoon shows an airplane interior filled with people and a giant amoeba-like entity. The caption refers to Roswell, suggesting the amoeba is extraterrestrial and the plane is stopping there.

The image depicts a crowded airplane cabin with unusual passengers, including a large, cellular organism occupying multiple seats. The caption implies a stopover in Roswell, hinting at a possible alien origin for the organism.

The image shows passengers on a plane, one of whom is a large, amorphous cell-like creature. The caption suggests the plane is making a connection through Roswell, implying an extraterrestrial connection to the cell creature.

The image displays an airplane with seated passengers, among them a large, cellular being. The caption mentions Roswell, implying the cell is an alien and the plane is flying to that city.


And tomorrow there's a twenty-per-cent chance of anvils.

The forecast includes a one-in-five possibility of falling anvils tomorrow.

And tomorrow there's a zero-per-cent chance of anything heavy falling from the sky.

This image-caption pair is funny because it creates an absurd scenario. The unexpected shift from safe to anvils adds to the humor.

The humor lies in the exaggerated weather forecast, turning a typical prediction into a dangerous and bizarre event.

The image and caption are humorous because they portray a ridiculous and improbable situation, exaggerating the concept of heavy rain.

The absurdity of the caption is the key to the joke because of the dangerous weather.

The caption misinterprets the image, as the falling objects are safes, not anvils, making it humorous. B. The caption provides a surreal and absurd forecast, contrasting with the mundane activity of observing the unusual weather. C. The image depicts a literal interpretation of a metaphorical situation, contrasting with the caption's suggestion of a humorous weather forecast. D. The image and caption create a humorous scenario due to the unexpected and dangerous nature of the "safe rain" and the nonchalant forecast. Correct option:D

This image depicts a humorous scenario of safes falling from the sky, contradicting a weather forecast of no heavy objects falling.

The cartoon shows a domestic scene interrupted by an absurd meteorological event: a rain of safes, contrasting the forecast of clear skies.

The image illustrates a paradox, with safes raining down despite a prediction of no heavy falling objects, observed by a couple in their home.

The caption highlights irony as safes plummet from the sky, defying a forecast of zero chance of heavy objects falling.


The humor lies in the awkward social situation of almost wearing the same outfit, but with a prehistoric twist involving spears.

The image-caption pair is funny because of the unexpected contrast between the primitive setting and a modern social concern.

The caption emphasizes the similarity between the cave drawing and the person with the spear, highlighting a humorous connection.

The caption is funny because it is an anachronism for cavemen to say something like that.

The caption "So close to matching spears!" is funny because it points out the unfortunate parallel between the cave painting and the person standing there with a spear through them.

This image is humorous because the person with the spear in their body is happy to be standing in front of the painting.

The cave people struggle to understand each other despite their shared experiences. B. The cave drawing illustrates a deep disconnect between the hunter and the hunted. C. This image-caption pair reflects the social dynamics of cavemen. D. In prehistoric times, interpersonal relationships were as intricate as cave paintings. Correct option:A


Don't sexual fantasies usually involve sex at some point?

Aren't sexual fantasies typically about sex?

Can sexual fantasies be fulfilling without any actual sex?

The humor stems from the juxtaposition of sterile hazmat suits with the intimate setting of a bed, suggesting a complete lack of sexual attraction or physical intimacy despite the suggestion of sexual fantasies.

The visual gag of hazmat suits in bed, combined with the caption's question, creates humor by subverting expectations of intimacy and sexuality, making the punchline the disconnect between fantasy and practical reality.

The image's punchline derives from the unexpected contrast between the protective gear and the bedroom scenario, implying a relationship where fear and caution overshadow intimacy, making the question about sexual fantasies inherently ironic.

This image-caption pair is funny because it highlights the absurdity of the situation, with the hazmat suits acting as a visual metaphor for emotional or physical barriers in the relationship. The punchline questions the very essence of sexual fantasies when there is no sexual act involved.

The humor lies in the contrast between the mundane question about sexual fantasies and the absurd image of two people in hazmat suits in bed, implying that the characters have become so detached from reality that they no longer understand the basic concept of sex, making the question ironic.

This image-caption combination is witty as it subverts expectations by depicting individuals in protective suits in a bedroom setting, implying the relationship is so devoid of intimacy that even their fantasies lack a sexual component, humorously reflecting a sterile or emotionally distant connection.

The pairing is funny because it uses the unexpected image of hazmat-suited individuals in bed as a metaphor for the increasing lack of physical intimacy in modern relationships, implying that even in their dreams, they are disconnected.

The image-caption pair is humorous because it juxtaposes the protective gear of hazmat suits with the intimate setting of a bedroom, suggesting that even sexual fantasies are being impacted by safety and caution, as if intimacy itself needs shielding.

The cartoon humorously depicts a philosophical question about the nature of fulfillment in sexual fantasies, using the unexpected visual of people in hazmat suits in bed, sparking curiosity.

The image of hazmat suits and a bed is absurd, and the philosophical question in the caption adds to the confusion, but the caption and image are unrelated.

The cartoon's caption presents a contemplative question about sexual fantasies, while the image of the hazmat suits highlights the absurdity of our reliance on protection, making the pair not funny.

The image portrays the question of whether sexual fantasies can be fulfilling if they lack any real sex, but it doesn't contain a punchline.


Janice, hold all my calls. Indefinitely.

Janice, I'm unavailable for calls. Don't put anyone through. Ever.

Janice, patch everyone through. Immediately.

This image-caption pair is funny because it's about bird watching.

The humor arises from the vulture's presence, suggesting the man's business or life is failing, making him avoid calls.

The punchline relies on the vulture being a rare pet, making the situation absurd and highlighting the man's eccentricity.

The humor comes from the unexpected juxtaposition of a man at work with a vulture, implying a literal threat to his well-being and forcing him to avoid calls.

The humor lies in the vulture symbolizing an aggressive bill collector or debt-related stress, contrasting with the man's attempt to avoid calls. B. The image is a straightforward depiction of a man working, with the vulture serving as a pet, and the caption is a work-related instruction. C. The image and caption are unrelated; the vulture is a random element, and the caption is a simple instruction to a secretary. D. The scene depicts a bizarre dream sequence where a man is disturbed by a giant bird while trying to ignore his work responsibilities. Correct option:A

This is a surreal depiction of corporate stress, where the vulture symbolizes the predatory nature of business and the constant feeling of being scrutinized.

The image represents a tense business situation where the man, possibly a CEO, urgently needs to connect with everyone while feeling pressured or watched (represented by the vulture).

The image and caption depict a man in a position of authority issuing a command, juxtaposed with a vulture, creating a visual metaphor for power and impending doom.

This image-caption pair illustrates a stark contrast between the mundane act of making a phone call and the ominous presence of the vulture, suggesting underlying anxieties in a professional environment.


Five hundred billion galaxies and nothing’s on.

Five hundred billion galaxies and everything's happening.

The image shows people unimpressed by the vastness of space, mirroring the caption's sentiment that even with endless options, entertainment is lacking.

The image depicts a literal scenario of space viewing, while the caption humorously comments on the abundance of galaxies as a metaphor for channel surfing.

The image presents a sci-fi setting, while the caption offers social commentary on modern entertainment's lack of substance, implying the universe is as disappointing as TV.

The image-caption pair creates irony by contrasting the awe-inspiring universe with a relatable human experience of boredom, suggesting that even cosmic wonders can become mundane.

The caption indicates that the vastness of the universe can be boring, which is contradictory to the common perception that the universe is exciting and mysterious.

The image depicts people looking at the night sky from their living room, while the caption is about the vastness of the universe.

The image shows a group of people looking at the night sky filled with planets and stars, while the caption implies that the vastness of the universe is still boring.

The caption highlights the irony of having access to the vastness of the universe, yet still experiencing boredom, which is a humorous juxtaposition.

The image depicts an ordinary scene with people in a room, whereas the caption is a description of a scientific concept. The caption does not match what is happening in the image.

The image illustrates a domestic scene against a cosmic backdrop, and the caption is a statement of scale, irrelevant to the domestic setting.

The image shows a gathering of people in an apartment, while the caption sounds like a pick-up line. The image and the caption are unrelated.

The image shows people enjoying a view of space from their living room, while the caption suggests an overwhelming number of galaxies and possibilities. The caption thematically aligns with the vastness of space depicted in the image.


The image shows a man and a bird in a tree, the bird holding a worm, with the caption indicating the man's desire to live with his dad, implying a complex relationship between humans and nature.

The image depicts a man in a tree, watched by a bird holding a worm, expressing a wish to live with his dad, reflecting a humorous family dynamic where a bird is a parent and the worm is his meal.

The image portrays a man sitting on a tree branch with a bird holding a worm next to him, and the caption suggests the man's discontent with his current living situation and longing for his father's home.

The image of a man on a tree branch, a bird with a worm in its beak, and the caption about wanting to live with his dad create a surreal scenario of a human child with a bird mother, highlighting the child's rejection of his mother's dietary choices.

The image reflects the caption, suggesting that the man is waiting for his father to return home and that the bird, despite being his mother, cannot provide him with what he needs.

The caption creates humor by presenting a literal interpretation of "home" and parental roles, highlighting the son's desire for his father's presence amidst the bird-mom's offer.

The caption is unrelated to the image, as the man is simply sitting in a tree while a bird offers him food, suggesting a harmonious relationship.

The image's humor comes from the absurdity of a bird parenting a human, while the caption highlights the man's longing for his father, creating an ironic contrast.

The image of a man in a tree with a bird holding a worm humorously complements the caption about wanting to move out, suggesting an undesirable living situation.

The image and caption create a narrative where the man's discomfort in the tree, symbolized by the bird and worm, drives his desire to leave.

The image of a man sitting near a bird with a worm serves as a literal depiction of the caption, suggesting the man wants to get away from nature.

The image depicts a man and a bird in a tree, while the caption expresses a desire to leave home, implying a disconnect between the visual and the text.


So a doctor walks into a bar—this is not a joke by the way.

A physician entered a tavern, and no, that's not the setup for a punchline.

So a doctor walks into a bar—get ready for the punchline.

The cartoon features a doctor and patient, seemingly unrelated to the caption about a doctor entering a bar. The caption is incongruous, lacking a clear connection to the visual content.

The image shows a doctor and patient in a medical setting. The caption, "So a doctor walks into a bar—this is not a joke by the way," implies that the doctor is the punchline of a joke.

The cartoon depicts a bandaged doctor and a patient, humorously suggesting the doctor's condition is due to a bar fight rather than a medical incident. The caption sets up a scenario where the doctor's injuries are from a bar, not work.

The image of a doctor and patient is a literal representation of the caption's opening line, suggesting the doctor's injuries were sustained in a bar brawl, and he is now seeking treatment.

The image illustrates a scene where a doctor, who is also injured, is about to tell a joke to their patient, which is hinted at by the caption.

The image and caption are unrelated. The image depicts a doctor and patient, while the caption is a humorous observation about the setup of a joke.

The image shows a doctor with numerous bandages, implying irony given the caption's reference to a "physician" not being the start of a joke. The caption is a self-aware commentary on the stereotypical "doctor walks into a bar" joke, contrasting with the doctor's wounded state.

The caption is a literal description of the doctor, who is also a bartender, entering a tavern as shown in the image.

The image of a doctor covered in bandages is unrelated to the caption.

The image of the injured doctor and patient implies an accident has occurred, correlating with the caption's humorous suggestion.

The image shows a doctor covered in bandages, implying he's been injured. The caption sets up a joke, creating irony because the doctor himself seems like the punchline already.


"Please tell me you didn't throw away the box and receipt."

No need to keep the box or receipt, I'm never returning this.

The image shows architects discussing the plans for Stonehenge, and the caption is about keeping the box and receipt, implying a customer service interaction unrelated to the construction process.

The image depicts a group of ancient builders struggling to assemble Stonehenge from a kit, while the caption humorously suggests they need the box and receipt to return it due to their construction difficulties.

The image illustrates the construction of Stonehenge with builders working in the background, and the caption is a modern-day phrase about returns, creating a humorous juxtaposition between ancient construction and modern consumerism.

The image presents a historical scene of Stonehenge being built, while the caption focuses on the importance of keeping receipts, highlighting the value of documentation across different time periods.

The image and caption are unrelated. The image depicts ancient construction, while the caption is a modern joke about returning a product, with no connection between the two.

The image shows ancient people constructing Stonehenge, humorously implying they are building it from a kit. The caption adds to the humor by suggesting they need to return the kit, thus creating a funny image-caption pair.

The image shows ancient builders struggling with construction, and the caption is a serious request for the receipt, reflecting the builders' concern about accountability for the project's progress.

The image depicts the construction of Stonehenge, while the caption provides a historical context for trade and refunds during that era.

The image shows architects inspecting a damaged piano near Stonehenge, while the caption humorously suggests dissatisfaction with the structure, implying a desire to return it despite discarding proof of purchase.

The image shows architects inspecting a damaged piano near Stonehenge, while the caption humorously suggests dissatisfaction with the structure, implying a desire to return it.

The image presents a scene of Stonehenge construction, where architects are examining a damaged musical instrument, and the caption is a humorous remark implying dissatisfaction with the instrument.

The image shows architects building Stonehenge, while the caption humorously suggests dissatisfaction with the structure, implying a desire to return it despite discarding proof of purchase.


If we just ignore it, maybe it'll go away.

Perhaps it will disappear if we pretend it's not there.

The men pushing the bull statue believe they can ignore the ostrich, despite the possible consequences, aligning with the caption.

The caption refers to the two men in suits who are following the bull statue and the ostrich is a metaphor for the stock market.

The image is about two men, while an ostrich hides its head in the sand, talking about ignoring the bull statue.

The image illustrates the caption's sentiment by depicting a bull being pushed forward while an ostrich hides its head in the sand, symbolizing denial.

The image and caption are contradictory; the bull statue being moved suggests proactive action, while the ostrich's behavior represents avoidance, making the caption's sentiment inappropriate for the scene with the bull.

The caption is humorous due to the irony of the ostrich burying its head, suggesting a naive approach to problem-solving, unrelated to the people moving the bull statue, who are actively dealing with something.

The image depicts a metaphorical scenario where a bullish market (represented by the bull statue) is being actively moved, while an ostrich burying its head in the sand symbolizes denial or ignorance of a problem, aligning with the caption's suggestion of ignoring something to make it disappear.

The cartoon portrays a financial market allegory where the 'bull' represents a rising market trend actively being managed, while the 'ostrich' symbolizes an investor avoiding market realities, echoing the caption's naive hope of a problem vanishing through denial.

The image illustrates the physical act of moving statues, a bull and an ostrich, which are unrelated to financial markets, and the caption "Let's confront this head-on" is a random encouragement, with no connection to the visual content.

The image shows a humorous scene of people transporting a bull statue next to an ostrich statue, suggesting a clash between bullish and bearish market sentiments, while the caption "Let's confront this head-on" is a straightforward instruction unrelated to the scene.

The image portrays laborers relocating a bull statue and an ostrich, indicating construction or landscaping activities, and the caption "Let's confront this head-on" is a motivational quote for project management unrelated to investment strategies.

The image depicts the juxtaposition of a 'bull market' represented by the bull statue being moved forward, and the 'ostrich effect' symbolized by the bird burying its head in the sand, while the caption "Let's confront this head-on" is ironic, as the ostrich avoids confronting problems.


The image shows a family gathering with prison bars visible, while the caption humorously suggests time feels like a life sentence.

The image depicts a family enjoying a social gathering in a living room setting. The caption "Geez, it's twenty-five to life already.." is a humorous expression, implying that the person feels like they have been there for a very long time.

The image displays a family in a prison cell, and the caption describes the length of their sentences.

The image is about a family that is spending time in a prison. The caption is a reference to the length of time they must spend in prison.

The caption implies that the family is stuck in a time warp, with the jail cell bars symbolizing the barriers preventing them from moving forward in time.

The image is a commentary on the prison system, with the family representing inmates serving a life sentence, and the caption highlighting the despair and hopelessness of their situation.

The image depicts a typical family gathering, and the caption reflects a common sentiment of boredom or annoyance experienced during such events.

The caption "Wow, this feels like an eternity" is a humorous exaggeration of the experience of being at a social gathering, reflecting the speaker's boredom or impatience, which is amplified by the visual of the jail cell bars representing a feeling of entrapment.

The image shows a family in what appears to be a therapy session, but the bars on the window suggest they're in a prison or restrictive environment. The caption implies the speaker feels trapped and that the situation has just begun.

The image shows a family in a waiting room of an office building. The caption implies that the speaker is new to the office.

The image shows a family sitting on a couch watching television. The caption implies that the show is boring.

The image shows a family visiting their dad in prison. The caption implies the dad hasn't been in prison long.


My wife won't let me put one in the back yard.

The backyard's off-limits for this, according to my wife.

My wife insisted we put one in the back yard.

The caption is a literal description of the image: A man is preparing to enter a pool in an office setting, and he's stating his wife's refusal to have one in their backyard.

The image shows a man about to dive into a pool that's inexplicably located inside an office. The caption explains that he's having the pool installed in his office because his wife won't allow one in their backyard, highlighting a humorous disregard for conventional office decor.

The image and caption represent a social commentary on work-life balance, suggesting the character is bringing his personal life into the workplace, while the caption hints at marital discord and a desire to circumvent his wife's decision.

The image illustrates a typical day at the office, with an employee taking a break in the office pool, as described in the caption. The caption simply provides context to the image.

The image shows a man about to dive into a pool in his office, suggesting he's ignoring his wife's rule about not using the backyard pool, as described in the caption.

The caption indicates the man is being disobedient, whereas the image depicts a typical office scene, implying a conflict between professional work and personal life.

The image shows an office with a pool, implying that the person is trying to relax, which goes against the caption.

The image shows a man with his diving gear in the office and the caption refers to the same person, suggesting a conflict between his professional work and personal life.

The image illustrates the bizarre juxtaposition of a pool in an office, highlighting the absurdity of the scene. The caption provides a literal explanation for the pool, suggesting the husband didn't want it.

The image shows a man about to dive into a pool in an office setting, suggesting a disruption of the typical work environment. The caption humorously attributes the pool's presence to a wife's insistence, implying a domestic influence on professional life.

The image features a man in a swimsuit, ready to jump into an office pool, which demonstrates his readiness for relaxation. The caption is a statement about marital dynamics and home improvement choices.

The image shows an office redesigned to accommodate a pool, contrasting work and leisure. The caption discusses the wife's preferences in home renovations, indicating a disregard for professional boundaries.


Craving some ocean delights this evening.

The caption is a literal description of what the man might say about the mermaid in the picture, which is irrelevant to the scene's context.

The image depicts a couple in a domestic setting, with the mermaid's presence being a whimsical element unrelated to the caption.

The caption describes the man's desire to cook seafood, which is not relevant to the presence of a mermaid in the image.

The caption implies the man is considering eating the mermaid, creating dark humor from the unexpected twist and contrasting with the domestic setting.

The cartoon portrays a mermaid's existential dread in a domestic setting. The caption "Craving some ocean delights this evening" is unrelated to the image, creating an absurd contrast.

The image depicts a man reading in a living room while a mermaid sits beside him, looking despondent. The caption implies the mermaid is offering herself as a meal, which is humorous and ironic.

The cartoon shows a man ignoring his mermaid partner's discomfort. The caption "Craving some ocean delights this evening" is a pun, suggesting he's avoiding her because she is the "ocean delight".

The image shows a man and a mermaid in a therapy session. The caption refers to a shared fantasy they are working through, revealing the underlying issues in their relationship.

The caption suggests the mermaid's longing for something unattainable, mirroring her out-of-water situation, while the man is oblivious.

The caption "Steak sounds amazing right now" refers to the book the man is reading, which is about food.

The caption reflects the man's thoughts, as he's secretly hungry but trying to focus on his book to avoid the mermaid's presence.

The caption highlights the mermaid's carnivorous desires, contrasting with the man's casual reading, implying their incompatibility.


I feel a vibration. Can you call my cell phone again?

My phone's buzzing – could you ring me again?

I don't feel anything. Please don't call.

The image and caption both allude to a sense of unease and tension, perhaps indicating a stressful work environment or a hidden danger.

The caption is relevant to the image because the alligator may be vibrating due to a phone call, suggesting the alligator is alive.

The image depicts an absurd situation with a dead alligator in an office, while the caption refers to feeling a phone vibration, creating a nonsensical disconnect.

The image shows the person and alligator coexisting peacefully, suggesting that the alligator is a pet. The caption fits because the alligator owner is trying to find the alligator by calling its cell phone.

The image shows a person discovering a dead alligator on an office desk, while the caption is a nonsensical question about a phone buzzing and a request to be called again, bearing no relevant connection to the image.

The image shows a woman discovering an alligator on the desk in an office. The caption is unrelated to the image and refers to someone asking to be called back on their phone.

The image illustrates the popular idiom "crocodile tears" which means to be insincere. The caption shows that the office worker is faking that his phone is ringing as an excuse to leave the room and avoid the person at the door.

The image depicts a business professional casually petting a taxidermied alligator, while the caption humorously suggests he is awaiting an important phone call to discuss sensitive matters, implying a connection to the animal.

The image represents the boss's eccentricity, while the caption is a customer complaint about the alligator product.

The image shows a crime scene investigation where an alligator is the victim, and the caption is a suspect's alibi.

The image depicts a surreal and absurd office scene, while the caption expresses emotional detachment, creating a humorous contrast.

The image is a metaphor for corporate cutthroat culture, and the caption is a resignation notice.


I didn't get where I am by trying to please.

My success came from charting my own course, not following the crowd.

I got where I am by putting others first.

The image depicts a standard board meeting, and the caption is unrelated, representing a generic statement of ambition and dominance.

The humor arises from the unexpected role reversal: a cat as CEO of a dog-filled company implies a struggle against societal norms, adding a layer of irony to the self-congratulatory caption.

The image and caption contrast each other directly; the subservient dogs highlight the CEO cat's humble beginnings, making the caption's boastful tone sincere.

The caption refers to the cat's natural aversion to pleasing others, explaining why the dogs are wary and the meeting is tense.

The humor lies in the cat CEO's self-congratulatory statement juxtaposed with the obvious power dynamic stemming from species difference; she likely faced minimal real hardship.

The image-caption pairing is ironic because it suggests the cat CEO achieved success by following the crowd of dogs.

The image-caption combination is not funny, as the caption's message of individuality aligns with the image of a cat leading a group of dogs.

The punchline is that the dogs in the meeting are secretly planning a rebellion against the cat CEO, undermining her claims of success.

The image shows dogs in a corporate meeting led by a cat, implying a power dynamic where the cat holds authority, and the caption satirizes the common claim of prioritizing others in achieving success.

The image depicts a cat leading a meeting of dogs, symbolizing interspecies collaboration, and the caption underscores the importance of selflessness in leadership.

The image illustrates a humorous scenario of role reversal, with dogs as employees and a cat as the boss, while the caption offers a sarcastic perspective on leadership.

The image showcases a cat managing a dog team, highlighting cross-species harmony in a workplace, and the caption emphasizes the value of servant leadership in fostering a positive work environment.


The guy you're looking for waltzed out of here an hour ago.

He left about an hour before you arrived.

He's been here all day, hasn't moved an inch.

The man talking to the bartender is the dancer's father, and the bartender is telling the man that his daughter is doing well with her career.

The bartender is informing the trenchcoat man that the ballerina left an hour ago, which leads the man to become angry and begin yelling at the bartender.

The humor arises from the literal interpretation of "waltzed," implying the suspect, possibly a dancer themselves, elegantly danced out of the bar, contrasting with the detective's serious investigation.

The image and caption depict a detective's confusion after a bartender makes a ballet-themed joke about a suspect's departure, highlighting the detective's inability to understand the context.

The caption is funny because the bartender is clearly lying to the man, which is a common trope in detective stories.

The humor lies in the double meaning of "left," implying the person the detective seeks might be a dancer, given the ballerina's presence, and literally "waltzed" away, a dance move.

The joke relies on the bartender misinterpreting the man's profession, assuming he is also a dancer.

The caption is meant to be a serious statement in the context of a crime scene, and there is no humor involved.

The artwork shows an interaction between a bartender and a customer, with a ballerina in the background. The caption indicates a state of persistent inactivity which may be a source of conflict or annoyance.

The image depicts a man in a trench coat at a bar, with a ballerina present. The caption suggests the man has been stationary at the bar for an extended period, perhaps causing concern or observation.

This scenario features a bartender, a trench coat-wearing customer, and a ballerina. The caption implies the subject has been idle and stationary which might be because he is waiting for someone or something.

The drawing presents a bar scene with a bartender, a man in a trench coat, and a ballerina. The caption suggests an unusual stillness implying that the man has remained completely still all day.


Relax. The DVR is set. You can catch the game tomorrow.

No worries, it's recording. Watch the game later.

Panic! The DVR failed. You're missing the game live!

The image depicts a romantic dinner where a man is tied to his chair. The caption implies he's missing a sports game, highlighting a humorous conflict between romance and male sports interests.

The cartoon shows a couple at a dinner, but the man is restrained. The caption suggests he's missing a sports game and reassures him it's being recorded, indicating a lack of genuine interest from the man.

A man tied to a chair at dinner with his partner symbolizes his forced participation in a date. The caption, "Relax. The DVR is set. You can catch the game tomorrow," adds humor by revealing his preoccupation with a sports game.

The drawing presents a man bound to his chair at a romantic dinner. The woman is seemingly oblivious, and the caption suggests he is only tied up so he doesn't miss his sports game.

The image illustrates a couple's unconventional role-playing scenario, where the caption provides a playful alibi to mask their unusual and potentially illegal activities.

The image depicts a serious hostage situation during a romantic dinner, with the caption serving as a dark and unsettling commentary on modern relationships.

The image and caption offer a satirical take on the complexities of modern relationships, highlighting the struggles of balancing personal interests with romantic obligations.

The humor arises from the woman's extreme measure of tying up her date, combined with her casual reassurance about recording the game, playing on the stereotype of men prioritizing sports.

The image shows a couple having a nice dinner, but the man is tied up, signifying his unwillingness to be there, and the caption suggests that he'd rather be watching a game, thus the rope is to prevent him from leaving.

The image illustrates a hostage situation during a romantic dinner, while the caption describes a minor inconvenience, resulting in a juxtaposition of serious and trivial situations that is intended to be comical.

The image presents a literal depiction of a man tied to a chair, and the caption offers a reasonable explanation for his predicament, implying that he was tied up to prevent him from watching a live game, which the woman sees as more important.

The image depicts a humorous scenario of a man restrained at a romantic dinner, while the caption refers to missing a live game due to DVR failure, creating a disconnect between visual and text where the man's situation is likely unrelated to the game.


Good news! We have a solid lead on who stole your liver.

We're hot on the trail of your missing liver!

Bad news! Turns out, your liver is still inside you.

The cartoon depicts a patient being informed by his doctor, while a suspicious-looking person lurks, about finding the thief who stole his liver, implying a humorous and absurd scenario.

The caption describes a medical procedure where a patient's liver was stolen during surgery, and the doctor is informing the patient about the investigation, while a detective observes.

The image portrays a scene where a doctor and a detective are working together to solve the case of a stolen liver, providing an explanation to the patient, as the caption says, "Good news! We have a solid lead on who stole your liver."

The cartoon shows a patient receiving good news from his doctor and a private investigator about a new liver transplant, as the caption says "Good news! We have a solid lead on who stole your liver."

The caption refers to the doctor and patient's liver.

The caption refers to the doctor and patient's liver transplant.

The cartoon depicts a funny scenario where a doctor and detective are investigating a patient's liver, a medical mystery with a comedic tone.

The cartoon depicts a humorous and absurd scenario where a detective and a doctor are investigating the disappearance of a patient's liver, implying a medical mystery with a comedic twist.

The cartoon depicts a patient receiving disappointing news from a doctor, while a suspicious character lurks in the background, implying a potential organ theft gone wrong.

The image shows a doctor delivering mundane news to a patient, humorously juxtaposed with a shady figure, suggesting an absurd and unexpected scenario.

This is a commentary on medical distrust, with the patient's anxieties personified by the detective, and the doctor's statement undercutting that fear.

The caption ironically contradicts the suspicious presence of the trench-coated man, creating humor through the unexpected normalcy of the medical result.


Do you often see yourself as someone who is acted upon?

The caption suggests the man in the chair is a therapist, with the bed representing the patient's issues, implying a therapy session.

The image depicts a man in a chair reading, with a bed in the background, unrelated to the caption about feeling like a victim.

The image shows a therapy session where the patient is metaphorically "in bed" with their problems, while the therapist asks about a victim mentality.

The caption is about feeling victimized, while the image displays a man sitting next to a bed with a question mark on it.

The image shows a man reading in a chair next to a bed, while the caption is unrelated and possibly a random question.

The image depicts a therapy session, with the caption suggesting a question about the patient's sense of agency.

The man in the image is reading a script on a film set, and the caption is a line from the script.

The image represents a dream sequence, with the man and bed as symbols, and the caption is a question about the dreamer's self-perception.

The image shows a man in a chair next to a bed, unrelated to the caption's theme of empowerment.

The image depicts a therapy session, with the caption representing a question a therapist might ask a patient.

The image and caption are satirically juxtaposed, suggesting a disconnect between the idealized self (empowered) and the reality of lying in bed.

The image is a literal representation of the caption, showing someone reflecting on their life while relaxing in their room.


The image displays explorers looking at Easter Island heads, and the caption "Botox.." is an irrelevant statement, offering no meaningful connection to the image's content.

The image depicts Easter Island heads, and the caption "Botox.." refers to the explorers' profession, suggesting they are doctors who inject Botox.

The image portrays explorers in a field near statues, and the caption "Botox.." is a coded message related to their exploration mission, possibly about the composition of the statues.

The image shows explorers observing Easter Island statues, and the caption "Botox.." suggests a humorous comparison, implying the statues' smooth, expressionless faces resemble those who have had Botox injections.

The explorers are showcasing the results of applying "Wrinkle Relaxer" to the Easter Island heads, demonstrating a new method of preserving ancient artifacts.

The image depicts the Easter Island heads as ancient, serious monuments, while the caption "Wrinkle Relaxer" is a completely unrelated term, creating an ironic juxtaposition between the solemnity of the statues and modern cosmetic procedures.

The image shows explorers encountering Easter Island heads that have been altered to look like they are smiling, implying a humorous attempt at rejuvenation. The caption "Wrinkle Relaxer" refers to the smoothed, smiling faces of the statues, suggesting a metaphorical application of anti-aging techniques.

The Easter Island heads are being used as a before-and-after advertisement for "Wrinkle Relaxer," with one side of the field showing the heads with wrinkles and the other side showing the heads with relaxed faces.

The caption "Natural aging" reflects the explorers' fatigue after a long expedition, as they are facing the aging Easter Island statues.

The image shows explorers looking at Easter Island heads, implying they are discussing the historical significance of the statues, which is unrelated to the caption about aging.

The image shows explorers observing Easter Island statues, while the caption "Natural aging" likely refers to the weathering and erosion of the statues over time.

The image shows explorers studying the artistic style of Easter Island heads, with the caption "Natural aging" referring to the naturally found materials used in the statues.


The image-caption pair is humorous because it highlights the potential absurdity of government regulations regarding food and drink, using a current event to create a relatable and exaggerated scenario.

The image shows a waitress pouring coffee for a jittery man at a diner, while another man eats a sandwich; the caption references a political figure and an implied coffee ban, which is irrelevant to the visual content.

The image is a political satire mocking Mayor Bloomberg's policies, particularly the soda ban, which is not directly depicted in the image but referenced in the caption.

The image and caption are unrelated, as the image depicts a common diner scene, while the caption makes a political statement about Bloomberg's policies, creating a nonsensical combination.

The image of the shaking man and the caption suggests that the diner is about to close down, and the waitress is offering him a final cup of coffee before he has to leave, causing him to panic and shake from the urgency of the situation.

The caption alludes to the man's extreme physical reaction to caffeine, suggesting he's addicted and needs to consume as much coffee as possible before his body gives out, while the oblivious waitress continues to enable his addiction.

The man's shaking is portrayed as a symptom of caffeine withdrawal, indicating he hasn't had coffee in a long time, and the caption implies that he should take advantage of the opportunity to drink coffee while it's available to alleviate his condition.

The image shows a man shaking as a waitress pours him coffee, with the caption "Get it while you still can!" implying he fears an impending coffee ban, referencing Mayor Bloomberg's soda ban and creating humor through current event commentary.

The cartoon is about a restaurant. The food is safe. The cartoon has a pun.

The image shows a diner scene with a nervous man being served coffee. The caption is a slogan about product safety. The cartoon is humorous.

A cartoon about a man suffering from a health problem and a waitress pouring him coffee. The caption doesn't provide any new information.

The cartoon depicts a shivering man receiving coffee, with the caption implying the coffee is safe despite scrutiny. This is not a punchline, but rather a commentary.


Frankly, Sheila, I find this the most awkward part of our divorce agreement.

Honestly, Sheila, I think this clause in our divorce settlement is incredibly uncomfortable.

Frankly, Sheila, I find this the most amicable part of our divorce agreement.

The image depicts a couple awkwardly walking a dog together, as stipulated in their divorce agreement, highlighting the absurdity of sharing custody this way. The caption reinforces this awkwardness, making it a humorous commentary on divorce complications.

The image shows a man and a woman walking a dog, and the caption suggests they are discussing the dog's training. The connection is that the dog is the source of their conversation and potentially some disagreement.

The image portrays a couple enjoying a pleasant walk with their dog in a park. The caption is a simple statement about the woman's name, and the connection is minimal and lacks any deeper meaning.

The image displays a couple standing in a park while a dog is playing. The caption is a complaint about the cost of dog ownership, connecting to the image through the shared subject of the dog.

The caption humorously comments on the awkwardness of divorce settlements, exemplified in the image by a couple walking a dog together despite their separation.

The cartoon illustrates a man and a woman awkwardly walking a dog, highlighting the challenges of co-parenting a pet after a divorce, as humorously implied by the caption.

The image depicts a divorced couple forced to walk their dog together due to a clause in their settlement, reflecting the humorous discomfort of shared responsibilities post-separation.

The image shows a couple walking a dog together, while the caption reveals they are uncomfortably fulfilling a clause in their divorce settlement to continue doing so.

The cartoon portrays an outdoor scene with a dog; the caption mentions a divorce agreement, implying the couple is negotiating terms, although the dog's relevance is unclear.

The cartoon shows a man and woman outside with a dog; the caption indicates they are discussing a divorce, but the dog is not directly mentioned, making the caption unrelated.

The image shows a couple in a park with their dog; the caption describes a friendly conversation between the couple, which is a contrast to the setting in the image.

The image depicts a couple walking a dog, and the caption suggests they are discussing a divorce agreement, implying the dog custody is the easiest part to agree on.


This is why I hate cross-country skiing.

Cross-country skiing is my worst nightmare.

This is why I love cross-country skiing.

The image demonstrates how one might react upon realizing they are in the wrong location to cross-country ski, which is consistent with the caption.

The caption implies a dislike for cross-country skiing due to the presence of cacti and sand, as depicted in the image.

The image depicts the aftermath of a cross-country skiing accident in the desert, which is relevant to the caption.

The image shows two men struggling to cross-country ski in a desert, matching the caption's complaint about the activity.

The image depicts a literal interpretation of the caption, with two skiers struggling in a desert, representing the nightmare of cross-country skiing.

The image shows two men attempting to cross-country ski in the desert, an activity unrelated to the caption which simply expresses a disdain for the sport.

The caption expresses a dislike for cross-country skiing, while the image humorously portrays skiers in an inappropriate environment, creating a contrast between aversion and absurdity.

The caption reflects the environmental damage caused by cross-country skiing, illustrated by the image of a barren desert landscape.

The caption is meant to be sarcastic as there is no snow for cross-country skiing.

The caption is unrelated to the image because the image shows people skiing in the desert.

The image shows the humor of cross-country skiing in an unexpected, desert environment, as highlighted by the caption.

The image depicts a man who is in love with cross-country skiing in the desert.


The image depicts a pirate with a rabbit on his shoulder, a humorous twist on the typical pirate-parrot trope. The caption "I'm rebranding" suggests the pirate is intentionally changing his image, likely to a more approachable or less intimidating persona.

The cartoon shows two pirates, one with a rabbit instead of a parrot. The phrase "I'm rebranding" implies that the pirate is trying to become something they are not.

The image showcases a pirate with a rabbit instead of a parrot. The caption "I'm rebranding" indicates that the pirate is starting a new business.

The image of a pirate with a rabbit and the caption "I'm rebranding" reveals the pirate's desire to become a magician.

The image-caption pair is contradictory. The caption "New look, coming soon.." suggests a modernization of the pirate image, but the image presents a traditional pirate with a rabbit, which is an outdated combination that doesn't create a punchline.

The image shows two pirates, one with a rabbit and the other without. The caption "New look, coming soon.." implies that the rabbit is part of a new pirate uniform, which doesn't align with the image's humorous subversion of the typical pirate-parrot trope.

The image of a pirate with a rabbit is unrelated to the caption "New look, coming soon..". This caption simply describes a new fashion trend and the image is just a comical illustration. There is no direct connection or punchline between the image and caption.

The image depicts a pirate with a rabbit on his shoulder, which is unexpected. The caption "New look, coming soon.." humorously suggests a rebrand of the pirate image from hardened criminal to something softer, making this image-caption pair contain a punchline.

The image and caption, when combined, satirize the absurdity of pirate life. The rabbit is a deliberately incongruous element, and the caption underscores this by implying the pirate considers it a standard tool.

The image depicts pirates, and the caption "Sticking with what works" is unrelated to the presence of the rabbit. It's likely a general comment about the pirates' habits or routines, separate from the visual element of the animal.

The image shows a pirate with a rabbit, and the caption refers to a specific event that occurred prior to the image being taken where the rabbit was used to cause a distraction.

The image shows a pirate with a rabbit on his shoulder, and the caption implies he's sticking to familiar strategies. This suggests the rabbit is a lucky charm or a proven method, illustrating reliance on the tried and true.


Save it. Ignorance of the law is no defense.

That excuse won't fly. You're responsible for knowing the rules.

Learn it. Understanding the law is your best protection.

The image depicts a cop explaining a complex mathematical equation related to the law to a driver he pulled over, highlighting the absurdity of laws that are too complicated for the average person to understand, which is reinforced by the caption's humorous take on the common legal phrase.

The image shows a cop writing a math equation on the board while pulling over a car. This highlights the importance of mathematics in law enforcement, as the cop seems to be calculating the driver's speed. This contrasts the caption, which suggests that the law is based on simple assumptions.

The image depicts a cop explaining a complex math equation to a driver, which illustrates the caption's point that the law is understandable and does not require mathematical knowledge.

The image shows a driver being pulled over for speeding, which supports the caption's claim that ignorance of the law is no excuse.

The image shows a driver attempting to use math as an excuse for speeding, but the cop is not buying it, as the caption suggests the driver is responsible for knowing the rules.

The caption references a cop who is teaching math to a person in a car to help understand the law.

The caption describes the cop's attempt to educate the driver about the law through math, highlighting the necessity of understanding the rules.

The image shows a cop explaining complex math equations on a board to a driver he pulled over, and the caption implies that ignorance of the law is not an excuse, creating humor through the absurdity of expecting the driver to understand such complex rules.

The image presents a scene of a mathematical lesson on traffic laws, symbolizing the caption's idea that legal knowledge is a shield against problems.

The image depicts a humorous scenario of a police officer using advanced mathematics to explain a traffic violation, contrasting with the caption's serious message about legal protection.

The image shows a driver being lectured about traffic law by a cop, highlighting the caption's theme of legal understanding as a means of self-defense.

The image shows a traffic stop where a police officer is explaining a complex mathematical formula related to traffic law to a driver, reinforcing the caption's message about understanding the law.


Remember that time you made me laugh and people came out of my nose?

I laughed so hard at what you said, it literally came out my nose!

Remember that time I made you cry and people stayed far away?

The image shows two monsters eating buildings in a city, and the caption humorously refers to a past event where laughing caused people to come out of one monster's nose, akin to liquid spurting out when a human laughs.

The image of monsters destroying a city is unrelated to the caption, which is a nonsensical statement about people coming out of a nose. The image simply depicts destruction.

The image represents a literal interpretation of the caption, where the monsters' destructive actions are a direct result of someone making them laugh so hard that people are expelled from their noses.

The caption is a metaphor for the monsters' destructive behavior, implying their actions are comedic and absurd, with the buildings they devour being likened to people being ejected from their noses due to laughter.

The picture shows two monsters eating a city's buildings, and the caption is about how funny one of the monsters found something, which caused them to laugh so hard that buildings came out of their nose. This humorous play on words is a reference to how the monsters are consuming buildings for food.

The image shows two monsters eating buildings, and the caption suggests a metaphor for a surprising and embarrassing reaction. It represents a situation in which someone is so shocked or amused by something that it causes an unexpected outcome, much like food coming out of one's nose when laughing. The humor comes from the unexpected and exaggerated comparison.

The artwork depicts two monsters demolishing a city, one of which is eating the buildings and the other is exclaiming the caption. The caption is about a past encounter of something literally coming out of his nose as a result of laughing so hard. The buildings being eaten in the picture suggests that the one monster's nostrils are filled with buildings.

The cartoon portrays two monsters devouring a city, with one monster recounting a past experience where something, analogous to liquid coming out of a nose during laughter, literally came out of its nose due to extreme amusement. The punchline is that the monster's laughter was so intense that it caused buildings to erupt from its nostrils.

The image depicts two monsters destroying a city by eating buildings, while the caption recalls a past event where the speaker caused someone to cry, resulting in social isolation. The connection is metaphorical, suggesting the destructive impact of actions.

The monsters are having dinner in the city with no one around. The caption is about the time when the speaker made someone cry.

The image of monsters eating buildings symbolizes the emotional damage described in the caption, where causing someone to cry led to social isolation, highlighting the destructive consequences of hurtful actions.

The image shows monsters having a meal in a city. The caption is an anecdote about a time the speaker made someone cry and people stayed away from them. The caption is irrelevant to the image.


The caption is a misleading statement, as the image shows a normal-sized remote for a TV.

The image shows a man in an electronics store holding an oversized remote, which humorously illustrates the caption "It comes with its own remote."

The image shows a man holding a TV remote, but the caption is irrelevant to the image.

The caption is a serious statement, as the image shows the latest TV controller technology.

The caption accurately describes the cartoon, highlighting the inclusion of a remote control.

The caption describes the setting of the image, namely a remote control.

The caption is unrelated to the image. The image is a drawing of a store, but the caption is a statement about a remote control.

The image shows a humorous scenario in an electronics store, and the caption sarcastically points out the obvious inclusion of a remote control with a TV, emphasizing the absurdly large size of the remote.

The image shows a literal interpretation of "requires no remote" by depicting a giant TV remote.

The caption implies that the TV controller is so large that it eliminates the need for a remote.

The cartoon humorously suggests that the TV itself is the remote, requiring no separate device.

The caption is a sarcastic comment on the complexity of modern TV remotes, implying they are unnecessary.


The image uses a cartoon style to soften the potentially frightening nature of the oversized needle, creating a lighthearted atmosphere. The caption uses sarcasm to mock the patient's fear of needles, creating a power dynamic between the doctor and the patient.

The image portrays a typical doctor's office, emphasizing the ordinary setting to highlight the absurdity of the enormous needle. The caption is a straightforward statement, lacking any significant comedic element or connection to the image's visual humor.

The image shows a doctor with an excessively large needle, creating humor through exaggeration. The caption, "You will feel a thing," ironically acknowledges the obvious pain, subverting the typical reassuring phrase used before injections.

The image relies on the viewer's personal experiences with injections to create a sense of relatability. The caption is a subtle hint at a potential medical malpractice situation, playing on anxieties about healthcare quality.

The image-caption pair is humorous because the doctor's oversized needle comically subverts the typical reassurance given to patients about painless injections, creating a funny contrast between expectation and reality.

The caption reflects the patient's anticipated emotional response to the unusually large needle, suggesting anxiety or fear, which aligns with the cartoon's visual depiction of an intimidating medical scenario.

The caption is unrelated to the image; the image shows a doctor with a large needle and a patient, whereas the caption is unrelated and abstract.

The caption is literal, describing the emotion that the patient will feel, but the image subverts this interpretation with its exaggerated needle size, making the actual emotional response more complex and humorous.

The image depicts a standard medical procedure, while the caption provides context about the patient's anxiety related to pain.

The image shows a doctor with a comically large needle about to give a shot to a nervous patient, and the caption is a reassuring but likely untrue statement.

The image illustrates a medical professional entering a room with a patient, and the caption relates to the doctor's promise of a painless experience.

The image portrays a medical setting with a doctor and patient, while the caption indicates the doctor's intention of making the procedure quick and painless.


I'm not comfortable discussing that in front of my fish.

My aquatic friend has sensitive ears, so let's change the subject.

My fish are my confidantes; spill the tea.

The image depicts an unconventional therapy session where animals are also patients. The caption highlights the fish's presence, implying a complex relationship dynamic within the therapy setting.

The image shows a psychiatrist treating a man, while other animals in the room are also in therapy, mirroring the man's concerns about privacy. The caption reinforces the man's discomfort about discussing personal issues with his fish present.

The image displays a satirical take on psychotherapy, with animals as patients. The caption suggests the speaker is overly concerned about the judgment of his pet fish, even during a private session.

The image is a humorous illustration of a therapy session involving a man, a dog, a cat, and a fish. The caption implies that the man is more concerned with the fish's opinion than the therapist's.

The image shows a therapy session where the patient is a man, but the humor comes from all the other animals also receiving therapy. The caption is spoken by the human patient, who might be referring to a loud noise.

The image depicts a therapist and patient, with additional animals in therapy-like settings to highlight the absurdity. The caption is humorous because it's unlikely a fish would be sensitive to sounds.

The image shows a psychiatrist treating a human patient, with other animals in the room to illustrate a commentary on modern society. The caption is unrelated to the image and does not add to the humor.

The image depicts a therapist treating a man, and other couches with animals to indicate a veterinary behaviorist setting. The caption references the fish in a bowl on a couch at a therapy session, and the speaker wants to change the subject.

The image depicts a psychiatrist with a human patient and several animals in therapy, while the caption humorously suggests fish as confidantes, implying a non-traditional therapeutic relationship.

The caption humorously implies the fish are gossipers, contrasting with the image of various animals, including fish, in therapy settings.

The caption is unrelated to the image because the drawing depicts a human patient, while the caption refers to fish as confidants.

The image shows a psychiatrist with a human patient and additional animals receiving therapy, reflecting the caption's sentiment about sharing secrets.


The procedure proved to be a worthwhile investment.

The image shows a pig with a slot in its back as it is a piggy bank, the image caption indicates that the piggy bank animal's surgery paid for itself.

The image shows a group of pigs at feeding time, and the caption humorously talks about a surgery being paid for, however, there is no relation between the image and the caption.

The cartoon depicts pigs at a trough, with the caption suggesting one pig's expensive surgery was funded by its own actions, possibly implying a humorous self-sufficiency.

The pigs in the cartoon are eating from a trough, and the caption implies that they had a surgery.

The image shows pigs by a trough, and the caption suggests that a process (presumably the pigs' feeding) was financially beneficial.

The image depicts a pig acting as a piggy bank, and the caption is about investing in pig farming.

The image shows pigs in a trough with a caption that refers to a financial investment, reflecting a satirical comment on economic systems.

The image is about animal husbandry and the caption is about the ethics of raising animals for profit.

The image shows pigs eating, and the caption refers to a banking crisis.

The image shows pigs at a trough, and the caption implies one of them had a surgery that cost all of his savings.

The image and caption are unrelated, as the image is about pigs eating and the caption is about financial hardship.

The image is a metaphor for economic inequality, and the caption is a literal statement about a pig's financial status.


The image shows slaves rowing a ship, with a businessman among them. The caption implies even the slaves pity the businessman's past job, highlighting the perceived misery of modern work despite its lack of actual slavery.

The cartoon depicts a businessman rowing alongside slaves, suggesting he is now enduring similar hardship. The caption is ironic, implying that the businessman's previous job was worse than being a slave rower.

A slave ship's rowers, including a businessman, are shown. The caption refers to the slaves sympathizing with the businessman's past employment, which may be even worse than rowing the boat.

A cartoon of slaves and a businessman rowing a ship. The caption is sarcastic, implying the businessman previously held an even worse job, suggesting the cartoon uses humor to highlight the tedium of the corporate job.

The image features slaves rowing a boat, with a businessman included. The caption suggests the businessman's prior job was undesirable, and this is ironic because modern jobs are better than slavery.

The cartoon depicts a ship's hull with men rowing, including a businessman. The caption refers to the businessman's prior job, implying it was unpleasant, but without the context of slavery.

The image shows slaves rowing a ship, with a businessman among them. The caption suggests the businessman's previous job was worse than being a slave, creating dark humor about modern work.

The cartoon illustrates a ship with rowers, including a businessman. The caption, "That previous position seems awful," suggests the slaves are pitying the businessman, unaware of the irony, and the humor lies in the slaves' ignorance.

The image portrays a group of men rowing in a ship, with one of them being a businessman who considers his last job more fulfilling than his current one.

The image shows a stark contrast between the businessman rowing alongside chained men, while the caption implies a humorous misunderstanding of the harsh realities of the situation.

The image suggests that the businessman's past job was more pleasant than the menial labor of rowing in a ship, and the caption is a sarcastic comment about his current position.

The image depicts a slave ship where a businessman is rowing alongside enslaved men, highlighting the absurdity of his previous job being described as "amazing" in such a context.


So, where do you see yourself in 5,000 years?

"What are your long-term goals... like, *really* long-term?"

"So, what are your plans for this afternoon?"

The caption "So, where do you see yourself in 5,000 years?" is a straightforward question about the Sphinx's career aspirations, given its prominent role in the office.

The humor arises from the absurdity of asking a Sphinx, an ancient monument, about its 5000-year career plan, contrasting typical career timelines with its immense age.

The image shows a man interviewing the Sphinx and asking about its long-term goals, highlighting the Sphinx's potential for significant career advancement in the company.

The man in the office is giving the Sphinx a performance review and asking about its future contributions to the company after serving for a considerable amount of time.

The image depicts a businessman admiring a Sphinx statue in his office, and the caption refers to the man's ambitions.

The image shows a boss interviewing a Sphinx in his office, but the caption makes no sense in context.

The image shows a man in an office working on a project while a Sphinx is watching him. The caption is unrelated to the image.

The image depicts a job interview with the Sphinx, and the caption humorously highlights the vastly different timescales involved due to the Sphinx's ancient existence.

The image shows a man at his desk in an office, posing a question to a massive Sphinx statue that also occupies the space. The caption provides the question, suggesting the man is having a casual conversation with the mythical creature.

The image depicts a bizarre office setup with a Sphinx statue. The caption highlights the absurdity of the situation by showing a man asking a mundane question to the Sphinx, implying a humorous disconnect.

The image and caption combination suggests a scenario where a businessman is interviewing the Sphinx for an unknown position in a modern office setting. The caption represents a typical work-related question.

The cartoon shows a man ignoring a massive Sphinx in the room, implying that he is unaware of its presence. The caption is a random question with no connection to the Sphinx.


We have to start investing in the future.

The cartoon depicts birds in an office setting who are facing a financial crisis due to their literal interpretation of "seed money."

The image shows birds, seemingly employees, in an office, and the caption suggests they are discussing their favorite seeds.

The birds are in a boardroom, and they are debating whether to fund a new birdseed company.

The cartoon portrays a group of parrots complaining about the quality of the birdseed they were given.

This cartoon portrays birds discussing business strategy in an office, emphasizing their roles as entrepreneurs seeking funding for a project related to birdseed.

The image shows birds in a museum, looking at portraits of other birds, with the caption making a commentary on the art world's obsession with avian subjects.

The cartoon depicts birds in an office setting, highlighting a literal interpretation of "seed money" being spent on seeds, creating a humorous contrast between business finance and avian behavior.

The image presents birds as art critics at an exhibition, where the caption critiques the funding models of art institutions, specifically concerning the allocation of resources for abstract paintings.

The cartoon presents birds in an office, where they have been presented as art pieces. The caption provides a statement about the need to invest in the future as a way to improve the state of the art.

The image shows birds in an office; the caption implies their conversation is about investing in their habitat, emphasizing environmental consciousness.

The birds in the office represent employees, and the caption refers to the company's strategy to prioritize investments in young workers, hinting at a human resources policy.

The cartoon depicts birds in an office setting, discussing the need for future investments. The caption highlights their proactive approach to financial planning.


My agent says it will be worth a lot more after I’m dead.

Apparently, its value skyrockets posthumously, according to my agent.

I'm enjoying every moment of this while I'm still around.

The image showcases the evolution of art, with a caveman creating a masterpiece. The caption serves as a reminder of the importance of preserving cultural heritage.

The image depicts a cave dwelling with primitive paintings. The caption emphasizes the caveman's obsession with art, showing his eagerness to create paintings for the future.

The image shows cavemen in a cave with one sitting on a rock. The caption humorously suggests the agent believes the cave paintings will increase in value posthumously, highlighting the trope of artists' work becoming more valuable after death.

The image presents a lighthearted scene of cavemen contemplating their next hunt. The caption adds a playful twist by suggesting they are discussing the economic benefits of their hunting skills.

The image shows cavemen and an agent in a suit, and the caption is about the value of cave paintings increasing after the caveman artist dies, which is a joke about art valuation.

This image-caption pair highlights the evolution of art through the ages, with the cave paintings in the background representing early forms of expression, and the agent discussing its value as a modern commodity.

The image depicts cavemen and a modern agent, and the caption suggests that the agent believes the caveman's artwork will be worth more after his death, highlighting the timeless nature of artistic value.

The image illustrates the disparity between ancient and modern life, as the cavemen are juxtaposed with a suited agent who is discussing the potential monetary value of their cave paintings.

The cavemen in the image are observing the seated caveman, while the caption is about enjoying the moment, implying a humorous situation.

The image depicts a group of cavemen, one of whom is sitting with a club, while the caption expresses a sentiment of appreciating the present moment, suggesting a sense of mortality. This does not create a punchline.

The cavemen are discussing the seated caveman, who is holding a club, as the caption is about living in the moment, which is a sarcastic remark.

The image shows a prehistoric scene, while the caption expresses a wish to go back to prehistoric times, creating a punchline.


The caption refers to the Ford Mustang car, which is known for its speed and sleek design, qualities ironically absent in the robot horse.

The image shows a literal interpretation of the caption, with a robot horse representing the "new Mustang."

The image and caption are incongruous, as the robot horse is a futuristic concept, while the caption suggests a familiar and popular car model.

The caption is a commentary on the evolution of transportation, with the robot horse symbolizing a technological advancement over traditional horses.

The image portrays a classic Western scene with two cowboys, and the caption is a metaphorical reference to a powerful, modern car, representing the robotic horse.

The image depicts two cowboys on horses, with one horse being a robot, which is unrelated to the caption about a new Mustang car model.

The caption "Meet the latest Mustang" refers to the breed of the horse on the left, which is a wild Mustang, but the image shows a different breed and a robot, making the caption irrelevant.

The image shows a humorous juxtaposition of old and new, as a traditional cowboy and his horse confront a futuristic cowboy on a robotic horse, fitting the caption's play on the "Mustang" name.

The cartoon depicts a traditional cowboy unimpressed by a technologically advanced robot horse, highlighting the contrast between old and new. The caption "It's the old clunker" ironically refers to the robot horse, suggesting it's unreliable despite its advanced nature.

The image portrays two cowboys; one riding a real horse and the other on a robot horse. The phrase "It's the old clunker" is a dismissive remark about the robot horse.

The cartoon shows two cowboys, one riding a horse and the other on a robot horse. The caption "It's the old clunker" is a statement about the robot horse being old.

The image portrays two cowboys; one riding a real horse and the other on a robot horse. The phrase "It's the old clunker" is a statement about the horse being old.


The image shows a typical office setting where employees are diligently working at their desks, and the caption "How soon can you start?" indicates that the company is looking for new recruits to join their team.

The caption "How soon can you start?" refers to the man in the middle cubicle who is holding a gun, suggesting that he is about to be hired for the job.

The image depicts a chaotic work environment, with employees violently attacking each other, while the caption "How soon can you start?" suggests a callous disregard for the dangerous conditions and a focus solely on filling the position.

The image represents an office where people are playing a game of cops and robbers, and the caption "How soon can you start?" is a question to the person who is playing the robber.

The image depicts a chaotic office environment where a man is being pursued with weapons, juxtaposed with a seemingly normal business meeting. The caption highlights the absurd disconnect between the violence and the mundane question of starting work.

The image shows a typical office setting with cubicles and a business meeting. The caption is irrelevant and doesn't relate to the action occurring in the background.

The image represents a workplace conflict escalation. The caption is a passive-aggressive remark from a manager ignoring the ongoing chaos.

The image illustrates a metaphor for the cutthroat nature of corporate competition. The caption represents the relentless pressure to start working regardless of the circumstances.

The image showcases workplace stress and competition taken to an extreme, visualized by physical attacks while the caption highlights the pressure of deadlines, suggesting the office environment fosters aggression due to looming deadlines.

The image depicts a chaotic office scene with violence in the background, contrasting with the calm business discussion in the foreground, mirroring the caption's implication of ignoring the surrounding turmoil to focus on work deadlines.

The image is about a surreal office setting where employees are literally at each other's throats, while the caption represents the typical office deadline pressure, creating a humorous juxtaposition between literal and figurative workplace stress.

The image shows a violent office environment, irrelevant to the caption's question about project completion, indicating a lack of workplace safety regulations and disregard for employee well-being.


Your sins are forgiven, but not your co-pay.

Your co-pay is forgiven, but not your sins.

The image depicts an MRI scan where the patient is split between a hospital room and a confessional with a priest. The caption uses wordplay, humorously connecting the forgiveness of sins with the unavoidable medical co-pay.

The cartoon shows a person undergoing an MRI, while a priest sits nearby. The caption suggests the priest is the doctor and that the copay is more important than the patient's health.

The image depicts a traditional hospital setting where a person is getting an MRI scan. The caption humorously implies the high cost of forgiveness and healthcare.

The drawing portrays a man getting an MRI in a hospital. The caption reveals the man is a priest who works at the hospital, and he is being reminded that he is not allowed to receive free medical care.

This image illustrates a patient in an MRI machine, with a priest waiting in the same room. The caption is a social commentary, implying that while seeking forgiveness is free, accessing medical care, like an MRI scan, is not. The humor lies in the unusual setting and the economic reality of healthcare.

The image depicts a medical setting with a person in an MRI machine and a priest nearby, suggesting a scene of religious consultation during a medical procedure. The caption is a commentary on the intersection of faith and medical treatment costs, questioning the accessibility of both.

The image shows a person undergoing an MRI scan with a priest present, implying a humorous juxtaposition of spiritual repentance and expensive healthcare. The caption "Repentance is free, healthcare isn't" reinforces this irony by contrasting the free absolution of sins with the high cost of medical procedures.

The image presents a person undergoing an MRI scan while a priest observes, creating a scenario where religious and medical realms intersect. The caption is a statement about the disparity between spiritual and physical well-being, suggesting that while one is readily available, the other comes at a cost.

The image portrays a person receiving an MRI scan alongside a priest, and the caption is a pun that plays on words, forgiving the patient's co-pay but not his spiritual transgressions.

The image depicts a medical procedure, possibly an MRI, while the caption jokes about forgiving sins but not co-pays, suggesting a conflict between religion and finance.

The image features a man in an MRI machine next to a priest, whereas the caption humorously implies that the patient's medical bill is forgiven but his sins are not.

The image shows a patient undergoing an MRI scan while a priest sits nearby, and the caption suggests a connection between spiritual atonement and financial relief in a medical context.


We've been struggling to enlist millenials.

Attracting younger generations has been a challenge for us.

The image depicts sailors struggling to recruit millennials by using emojis on flags, reflecting a humorous attempt to connect with a tech-savvy generation.

The cartoon shows sailors raising flags with emojis, symbolizing their frustration with the old-fashioned methods of enlisting millennials.

The image illustrates a naval crew communicating via emoji flags, highlighting the generational gap in the military.

The image shows how the navy is trying to use new technology to recruit new sailors.

The image depicts a serious naval ceremony, while the caption discusses the challenges of recruiting younger people. This contrast is humorous because it highlights the Navy's outdated traditions.

The caption is about the Navy's struggle to connect with millennials, and the image depicts sailors raising flags, a traditional naval activity. There's no clear connection or humor between the two.

The image shows sailors using emojis to attract younger generations, which aligns with the caption about the challenge of attracting them. The humor comes from the juxtaposition of traditional sailors using modern internet symbols.

The caption is about how difficult it is for the Navy to acquire new ship parts, and the image shows sailors on a ship. The humor comes from the fact that the sailors are using emojis to communicate with each other about which ship parts to order.

The image shows sailors raising flags with social media symbols, and the caption sarcastically comments on millennials' eagerness to join them, implying a focus on social validation.

The image of sailors raising flags with social media icons symbolizes the navy's recruitment strategy, and the caption is a literal statement about increased millennial enlistment.

The image is about navy recruitment targeting millennials, and the caption suggests that millennials are eager to join the navy.

The image depicts sailors raising a flag with like and smiley face emojis, and the caption implies that millennials are being recruited.


I'm the reason you're not feeling a thing.

The image depicts a medieval execution scene, while the caption offers a humorous, modern twist by likening the executioner to an anesthesiologist.

The image shows a guillotine execution, and the caption sarcastically implies that the executioner is merely there to reduce pain.

The image and caption contrast sharply, as the caption denies any responsibility for a violent act shown in the image.

The image shows a historical scene, but the caption is unrelated, simply describing a medical role.

The image illustrates a public beheading, while the caption represents a modern-day sleep therapy.

The image depicts a historical method of execution and the caption is talking about a boxing glove.

The image displays a knight and an executioner, while the caption refers to a bedtime story.

The image shows a medieval execution scene with a guillotine, but the caption adds a humorous and ironic twist, suggesting the executioner's role is merely to lull the condemned to sleep.

The caption highlights the executioner's role in the guillotine process, ironically implying he's providing a painless death while the image shows the gruesome reality of beheading.

The caption describes the knight comforting the condemned man before the execution, promising a quick and painless death via the guillotine.

The caption refers to the boxing glove suspended above the guillotine, suggesting a knockout blow instead of beheading, a humorous commentary on capital punishment.

The caption is spoken by the severed head, sarcastically thanking the executioner for the quick decapitation and lack of pain.


Not now—I'm in the middle of a big case.

Can't talk, I'm deep into an important investigation.

All the time in the world—nothing urgent happening.

The cartoon depicts men carrying a briefcase, and the caption uses "big case" as a double entendre, referring both to the briefcase and a legal case.

The image shows a group of men leaving an elevator, implying that they are just starting a new job.

The men's serious expressions indicate that the briefcase contains valuable or dangerous items.

The woman in the background is the client involved in the "big case" mentioned in the caption.

The caption is unrelated to the image; the men are carrying a briefcase, but there's no indication of an investigation.

The caption is a literal description of the image, highlighting the men's focus on carrying the briefcase.

The caption humorously suggests the men's briefcase contains something secretive, implying they're involved in a clandestine investigation.

The caption implies the men are journalists investigating a story, using the briefcase as a prop to appear busy.

The image shows three men carrying a briefcase, likely containing something important, which contradicts the caption's implication of a lack of urgency.

The caption provides a background story that isn't immediately apparent in the picture, creating a subtle humor based on the discrepancy between appearance and reality.

The image is a literal representation of the caption, showing men moving at a leisurely pace with an object of unknown importance, highlighting the contrast between their professional attire and the relaxed atmosphere.

The caption describes the men in the image as being unhurried, perhaps suggesting that the contents of the briefcase are not as critical as their demeanor might suggest.


Excessive costs will sink your business.

The image and caption are unrelated; the cartoon is a parody of courtly life, while the caption is a commentary on modern economic anxieties.

The cartoon illustrates the classic "Sword of Damocles" scenario, but the caption humorously reinterprets the impending danger as a financial threat rather than a literal one.

The image shows a king and scribe, with the caption "Your overhead is going to kill you" referring to the literal danger posed by the giant sword in the room.

The image depicts a king listening to a scribe with a giant sword looming overhead, humorously referencing the financial burden implied by the caption "Your overhead is going to kill you."

The image of a medieval king with a giant sword emphasizes historical power, while the caption discusses contemporary business, suggesting the king should learn from modern economic principles.

The image depicts a king under a comically large Sword of Damocles, while the caption warns about the dangers of excessive costs sinking a business, implying the king's lavish spending is perilous.

The image is a satire of royal extravagance with an enormous sword as a symbol of wealth, while the caption ironically promotes thrifty business practices.

The image shows a king being threatened by a giant sword, while the caption advises against overspending in business, suggesting the king is being metaphorically 'cut down' by his expenses.

The cartoon shows a king in his court, with an advisor reading a scroll, overshadowed by a giant sword, and the caption mocks the king's authority by implying he is controlled by the sword.

The image depicts a king under a comically large sword, likely a "Sword of Damocles" reference, while the caption uses wordplay to connect "low overhead" (the sword) with "high profits," suggesting a business or financial context.

The image shows the absurdity of royal life, with a king hearing news from a scribe while a massive sword hangs precariously above, and the caption is a pun on the phrase 'Sword of Damocles' as the threat of low profits.

The image illustrates an old king and a scribe and a large sword and the caption is humorous for connecting low overhead and high profits.


No, what I said was we need more stakeholders.

Actually, I suggested broadening our circle of involved parties.

Actually, fewer people involved would streamline this.

The men are delivering a pet snake to a coworker as a prank, and the caption is unrelated to the image.

The caption explains that the large snake is a metaphor for the company's profits, which are being carried away by the men.

The image is a commentary on corporate culture, suggesting that the office is full of dangerous and unpredictable individuals represented by the snake.

The cartoon depicts a literal interpretation of the phrase "more stakeholders," with two men carrying a large snake (a "stakeholder") past a confused coworker in an office setting.

The image depicts a typical office environment, but with the absurd addition of two men carrying a large snake. The caption hints that the "involved parties" are the snake, and is a joke about corporate changes.

The image shows two men carrying a giant snake through an office, while a third man watches them, seemingly taken aback. The caption implies the snake is a result of expanding the group of people involved, humorously suggesting it was a bad idea.

The image and caption are unrelated. The image is about the dangers of zoo animals, while the caption is about broadening the circle of involved parties in a business context.

The image is a literal representation of the caption. The snake symbolizes the "circle of involved parties," and the men carrying it are struggling to manage the expanded group.

The image is about a large snake being moved, and the caption is unrelated.

The image depicts a literal interpretation of streamlining processes in an office, with the snake representing a cumbersome task and the caption suggesting simplification.

The image shows employees carrying a dead snake to their boss. The caption explains that the boss wants fewer employees involved.

The image shows two employees carrying a snake and the boss is upset. The caption is the boss making fun of the two employees.


Sir, I just need you to take one small step out of the vehicle.

Sir, could you please just step out of the car for a moment?

Sir, please remain in the vehicle, we'll come to you.

The image shows a rocket being pulled over by a police officer, and the caption suggests the officer is sarcastically referencing Neil Armstrong's famous quote, implying the driver's vehicle is a spaceship.

The image depicts a futuristic car pulled over by a police officer, with the caption suggesting the officer is sarcastically asking the driver to take a small step, hinting at a slow or cautious movement.

The image shows a policeman ticketing a rocket driver, and the caption humorously references Neil Armstrong's famous quote, playing on the typical police request to "step out of the vehicle."

The image shows a police officer giving a rocket driver a speeding ticket, with the caption being a pun on the size of the driver's feet.

Option1: The image and caption connect by humorously referencing the Apollo 11 moon landing. The officer's request to "step out of the car" mirrors Neil Armstrong's famous first step on the moon, adding a comedic twist to a routine traffic stop involving a rocket car.

Option2: The image shows a policeman giving a ticket to a driver of a rocket car, likely for speeding. The caption implies a common police request, which highlights the absurdity of the situation due to the unusual vehicle. The connection is that the police officer is acting like this is a normal traffic stop.

Option3: The image shows a rocket car pulled over by police, while the caption "Sir, could you please just step out of the car for a moment?" implies that the officer doesn't realize he is dealing with an unusual vehicle.

Option4: The image shows a rocket car pulled over by police, and the caption is a formal police request. There is no connection between the image and the caption.

The image shows a rocket pulled over by the police, and the caption talks about the driver being asked to stay in the vehicle. The two elements are clearly related to each other.

The image shows a rocket being pulled over by the police, and the caption talks about the driver being asked to stay in the vehicle. The two elements do not relate to one another.

The image presents a literal scene of law enforcement dealing with a rocket, while the caption sarcastically mocks the situation.

The image depicts a humorous scenario, a rocket pulled over by a police officer, and the caption adds to the humor, implying the officer's hesitation approaching the unconventional vehicle.


What do you mean it's your mother's recipe?

"You're telling me *she* came up with this?"

"Of course, I learned it from your mother."

This shows Adam and Eve in the Garden of Eden. Eve presents a pie to Adam. The caption implies that the pie is too hot to handle, so he is hesitant to eat it.

The cartoon shows the historical drama between Adam and Eve. Eve is offering a fruit-filled dessert to Adam. The serpent in the tree is looking toward Adam with anticipation.

The image portrays Adam and Eve in the Garden of Eden, with Eve presenting Adam a pie as a symbol of temptation. The serpent in the tree represents the devil, adding a layer of sin.

The image depicts Adam and Eve in the Garden of Eden, with Eve offering Adam a pie, while a serpent lurks in a tree. The caption humorously suggests a conflict over the pie's origins, implying a potential family drama.

This is a humorous take on the biblical story of Adam and Eve, replacing the forbidden fruit with a pie. Adam's skepticism, as indicated by the caption, suggests he doubts Eve's ability to create such a dish, implying a power imbalance or a joke about gender roles.

The image shows Adam and Eve in the Garden of Eden, with Eve presenting a pie to Adam while a snake watches from a tree. The caption implies Adam suspects Eve, not himself or a higher power, created the pie, questioning her ingenuity.

The image depicts a modern interpretation of the Adam and Eve story, where the original sin is replaced by pie. The caption "You're telling me *she* came up with this?" adds a layer of humor, suggesting Adam doesn't believe Eve is capable of making the pie, potentially due to sexism or a perceived lack of culinary skills.

The cartoon shows Adam, Eve, and the serpent in a contemporary setting. The caption reveals Adam's disbelief that Eve baked the pie, possibly implying she is not known for her cooking skills, and thus creates a comedic effect.

The cartoon depicts a modern take on the Adam and Eve story, where Eve presents Adam with a baked pie, subtly suggesting a domestic scene; the caption adds a layer of humor by implying a mother-in-law relationship, despite the biblical context.

The image shows Adam and Eve in the Garden of Eden, with Eve offering Adam a pie, while a serpent lurks in a tree; the caption humorously implies that Eve learned to make the pie from Adam's mother, a paradoxical joke since Adam had no mother.

The image is a humorous depiction of the biblical story of Adam and Eve, with a pie replacing the apple, indicating a modern twist; the caption highlights a sarcastic conversation between them, suggesting Eve learned the recipe from Adam's mother, a humorous impossibility.

This image is a modern satire of the Adam and Eve story. Instead of an apple, Eve offers Adam a pie, while the serpent watches. The caption adds to the humor by suggesting Eve learned the pie recipe from Adam's mother, a humorous impossibility, given the biblical narrative.


The caption describes the man's feeling of diving off the ship plank, with his arms open and ready to jump.

The image depicts a man diving off a ship plank, while the caption "I can't believe my eye!" suggests the pirates are surprised by his actions.

The caption is irrelevant to the image, as it shows a man diving off a ship and pirates looking on.

The caption provides context for the image, indicating that the man's dive is part of a pirate ritual, and the pirates are surprised by his actions.

The caption is a general statement about the ocean and diving, providing context for the scene without directly reacting to it.

The caption is unrelated to the image because it is simply a statement of disbelief, while the image shows a man diving off a ship.

The caption is sarcastic, implying the man's dive is routine, despite the pirates' reactions, creating a humorous contrast.

The caption "This is unbelievable!" reflects the pirates' astonishment as a man dives off the plank, suggesting a surprising or unexpected event.

The caption is from the perspective of the man diving, who knew this was going to happen all along.

The cartoon depicts a typical pirate scene of throwing someone overboard, and the caption implies this is a regular occurrence.

The image and caption are unrelated, as the diving man has nothing to do with what the pirates expected.

The image shows a man diving from a pirate ship, while the caption "That's exactly what I expected" suggests a sarcastic reaction to the unexpected event.