Parody serves as a sophisticated form of expression that often treads a delicate line between homage and mockery. It may target a range of subjects, such as artistic works, individuals, events, or cultural movements, using humor and imitation to comment on, critique, or amuse. Academic perspectives on parody vary; some view it as a polemical tool that allusively imitates other cultural productions, while others see it as a form of imitation that does not necessarily deride the text it parodies. Diverse forms of art and media, from literature and theater to television, film, and even video games, can include parodic elements. It shares similarities with both pastiche, which is a respectful imitation of another artist's style, and burlesque, which often employs highbrow material for lowbrow entertainment. Parody has been recognized from ancient times; Aristotle credits Hegemon of Thasos with inventing a form of parody in Greek literature that comically altered the words of famous poems. The power of parody is evidently prominent when a once-popular format becomes outdated; it can then only continue to engross audiences by being parodied, as seen in the comedic short films by Buster Keaton that satirized melodramatic films of the era. The art of parody is widely known and can be referred to by several terms such as spoof, satire, send-up, take-off, lampoon, play on something, or caricature, each suggesting a nuanced understanding of this complex and entertaining literary device.

Digital distribution is the process of delivering media content like music, films, e-books, video games, and software through digital means, particularly over the internet. This modern method of distribution prevails over traditional physical methods, such as those involving paper, CDs, DVDs, and VHS tapes. The concept of online distribution usually relates to standalone products, while "downloadable content" refers to additional material available for download for existing products. With the improvement of internet capabilities, the 21st century has seen a surge in online distribution's popularity. Major platforms like Amazon Video and Netflix's streaming service, launched in 2007, exemplify this trend. Consumers can access content by streaming, which permits viewing or listening to content on-demand but does not allow permanent ownership. Alternatively, downloading content permits ongoing offline access. Content delivery networks are specialized networks designed to facilitate the efficient distribution of content across the internet by optimizing both its availability and performance. Other methods include peer-to-peer file sharing and content delivery platforms, which act similarly to content management systems but are operated remotely. In an entirely different context, "digital distribution" also refers to the delivery of digital content through physical formats, a method typically used in the film industry. This is contrasted with older analog media such as photographic film and magnetic tape, processes referred to as digital cinema. The shift to online distribution has sparked debate concerning the impact on traditional business models in various industries.

Jewish humor, a cherished cultural tradition within Judaism, boasts a rich historical tapestry that intertwines with the narrative of the Jewish people themselves. This distinct form of wit and comedic expression has its roots in antiquity, established during the era of the Torah and the Midrash in the ancient Middle East. However, its most recognizable and celebrated manifestation is the verbal, anecdotal humor cultivated by Ashkenazi Jews, particularly in the United States over the last century – an integral part of both religious and secular Jewish culture. This humor initially evolved within the Jewish communities of the Holy Roman Empire, where it served as a veiled form of critique against the encroachment of Christianization. By employing the clever use of theological satire, Jews were able to discreetly voice dissent. As the centuries progressed, Jewish humor witnessed a significant transformation, particularly during the nineteenth century with the advent of the Jewish Enlightenment, known as the Haskalah, among German-speaking Jews. It continued to develop in the shtetls—small towns with large Jewish populations—in the Russian Empire before reaching its zenith in twentieth-century America. This was an era marked by the influx of millions of Jewish immigrants from Eastern Europe between the 1880s and the early 1920s. These newcomers were instrumental in the propagation of Jewish humor, helping it permeate various American entertainment platforms from vaudeville to radio, and later extending to stand-up comedy, film, and television. Remarkably, Jewish comedians constituted an overwhelming majority within the American comedy scene—a 1978 estimation by Time magazine suggested that as many as 80 percent of professional American comics were of Jewish descent. The essence of Jewish humor is characterized by its intellectual wordplay, irony, and satirical tone. It typically adopts an anti-authoritarian stance, jesting about aspects of religious and secular life with equal fervor. Renowned psychoanalyst Sigmund Freud noted that Jewish humor often involves a self-reflective element; Jews tend to