It's referred to as a "lampshade". It's where characters in a story intentionally point out how something is so ludicrous, they can't believe it is really happening. The implication being that the writers are acknowledging to the audience that they are reeeeeeeeeally stretching things to keep the plot moving and believable. It gets parodied all the time by Mel Brooks, the Zucker Brothers, Kevin Smith in Jay And Silent Bob Strike Back ("A Jay and Silent Bob movie? Who'd pay to see that?" And then all three characters look at the camera and play to the audience), Koshi Rikdo (constantly employed in the hilariously classic Excel Saga), and the Austin Powers movies ("Why don't you just kill him?!?").
More serious examples?
Die Hard 2, where John McClane repeated expressed disbelief that he's in this situation again.
One of my favorite anime, CardCaptor Sakura, where Tomoya points out Li's jealousy over the (unknown to everyone) reincarnated Clow Reed "is like something out of a girl's manga".
The entire storyline of "Fall In Love Like A Comic" hinges on this.
Peter David's classic "Rick Jones escapes from an exploding flying saucer with a parachute he just happens to keep on him" bit.
Brigadier Stewart in Doctor Who, commenting he would just once like to meet an alien that wasn't impervious to bullets (well, technically, he has. The Doctor. Remember the switch from Sylvester McCoy to Paul McGann?).
The vast majority of Mark Millar's projects.
Simply put, it's a reaction to a situation that makes no fucking sense, but the characters do it anyway to advance the plot and the results are usually benign or beneficial, and it is called attention to.
Peter David, in one of his columns ruminating on writing, said it was a wink to the audience, a sort of "Yeah, I know I'm not fooling you, but let's not let that get in the way of the rest of the story."
Okay, so here's the question: when is a lampshade a lampshade, and when is it simply the characters' logical reaction?
I did this in the first two issues of Sound Waves. In the first issue, Rhapsody asks Melody, "Do you really think my dad will believe I found the ring in an oyster?", and Melody responds, "Do you really think he'll believe a mermaid found it instead?" In the second issue, Melody explains how singing enables mermaids to swim without drowning. Rhapsody comments, "That sounds a little farfetched." Melody responds, "You mean, compared to mermaids?"
For me, it was because these elements that were crucial to the mechanics of the series not only don't withstand logical scrutiny, but nothing could. If mermaids are half human as legends say, it would be easy to spot where they live. They would be relatively close to the surface of the water, it does get darker the further down you go (another thing I sidestep in the series using the "harmonizing with water" conceit). Melody smells the bad perfume on Rhapsody at the start of the Christmas special. Rhapsody sighs. They talk and sing. This involves moving air past the vocal chords. Where is their oxygen coming from?
The reason I made Sound Waves 16 pages per installment is to enable me to barrel past those tricky inconsistencies. Sort of like Tom And Jerry. You don't need much background, you get the gist of the characters almost immediately (the cat wants to catch the mouse, the mouse wants to survive). The actual logistics for living as a mermaid is not my focus and will actually distract from the stories, which are about exploration and friendship. The whole "sound waves" thing is the elephant in the room, and I'm trying to keep the audience from noticing.
So, was what I did in the first two issues a lampshade, or was that genuinely how the characters react? I mean, Rhapsody and Melody are not only intelligent, but I intentionally put a little snark between them. I think it's important to have the characters occasionally disagree, clash, or just razz each other as friends because I think it makes them look less like reflections of each other, the same character duplicated just to give the main character someone to talk to.
So what is the dividing line? At what point are you sharing a laugh with the audience or trying to power through your set-up, and at what point is it a cheap cliche and cop-out?
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