With the news that MotoAmerica is headed to Daytona International Speedway in March of 2022 for the Daytona 200, we decided the perfect way to build excitement for the event would be to start digging through the history books and memory banks. Since Paul Carruthers is literally as old as the Speedway itself and covered almost 30 Daytona 200s as a journalist while working at Cycle News, it was a no-brainer that it would be him who would take on the task of trying to recall the good and the bad. And since we are the home of the AMA Superbike Series, we figured we’d have him start his look back with the 1985 Daytona 200 – the first of the 200s to feature Superbikes – and go from there. This week, we focus on the 1991, 1992 and 1993 Daytona 200s.
1991
Winner: Miguel Duhamel, Honda RC30
Miguel Duhamel didn’t even have plans to compete in the Daytona 200 in 1991 much less winning it. Drafted in as replacement for the injured Randy Renfrow, Duhamel made the most of the opportunity given to him by Commonwealth Honda team owner Martin Adams as he put the Camel-backed Honda out front for 32 of the 57 laps and stormed to a 10.290-second victory.
The Turning Point: Fast By Ferracci’s Doug Polen was the fastest of the fast all week at Daytona International Speedway, but the polesitter was out of the race on the opening lap of the 200 when his Ducati threw a chain. Polen earned pole position with his 1:53.638/112.779 mph lap on Wednesday of Bike Week and it was the first for Ducati at Daytona and the first pole position for a non-Japanese motorcycle since England’s Paul Smart put his Triumph on pole in 1971.
Newsworthy: Duhamel beat the Vance & Hines Yamahas of Jamie James and Thomas Stevens. Duhamel’s teammate Rich Arnaiz was fourth, despite riding with a broken finger and a badly battered left hand, with Muzzy Kawasaki’s Scott Russell finishing fifth.
Six riders took a turn at leading the 200, helping make the 50th running of the race one of the most exciting in recent memory. In addition to Duhamel, James, Tom Kipp, Steven and Arnaiz all led at some point in the race.
Duhamel’s winning average speed was only 93.471 mph as some 13 laps were run behind a pace car and under caution flags.
Duhamel not only won the Daytona 200, but he also came out of the 600cc Supersport race with a victory. “It feels great to win Daytona,” the 23-year-old French Canadian said. “The names that come to your head are Freddie Spencer and Kevin (Schwantz) and those guys. I can’t believe I’m here. I can’t believe I won this race. This is the greatest feeling you can have.”
1992
Winner: Scott Russell, Kawasaki ZX-7R
The man who would go on to be known simply as “Mr. Daytona” won his first Daytona 200 in 1992, the Georgian winning a near photo finish over Fast By Ferracci’s World Superbike Champion Doug Polen. Russell won the race with a record average speed of 110.669 mph to best Polen by just .182 of a second.
The Turning Point: As has been the case in a zillion races at Daytona International Speedway, the race came down to the final lap with Russell following Polen through the chicane and setting himself up for a slingshot pass just before the finish line.
Newsworthy: As the 110.669 mph average speed shows, the pace car was never needed in the 1992 edition of the Daytona 200.
The crowd for the 51st running of the Daytona 200 was estimated to be 40,000.
With Polen finishing a close second to Russell, third place went to another Georgian – Mike Smith – in what was his debut race on the Camel-backed Commonwealth Honda RC30.
“I knew coming into this race that I could win if everything went well,” Russell said. “I’m glad we put on a show for the fans and for the finish to be that close. It was pretty exciting.”
Doug Polen smashed the track record at Daytona during Wednesday’s qualifying with the Texan lapping at 1:50.388 on the 3.56-mile road course. His lap was three seconds faster than his pole setting lap from the year before. His qualifying session was cut short when he crashed the Fast By Ferracci Ducati in turn one, escaping without injury.
An 18-year-old Texan by the name of Colin Edwards won the International Lightweight (250cc) race in his Bike Week debut at Daytona. Third place went to another 18-year-old making his AMA professional debut – Kenny Roberts Jr. on the Wayne Rainey Racing Otsuka Electronics Yamaha.
Miguel Duhamel, the winner of the 1991 Daytona 200, was contesting the 500cc World Championship and didn’t compete at Daytona in 1992. Although Miguel Duhamel wasn’t racing at Daytona, his father Yvon certainly was. The elder Duhamel won the BMW-sponsored Battle of the Legends race, which was held in conjunction with the AHRMA Classics Day.
1993
Winner: Eddie Lawson, Yamaha FZR750RR OW-01
Four-time 500cc World Champion Eddie Lawson came out of his brief retirement to win the 52nd running of the Daytona 200, the Californian besting 1992 Daytona 200 winner Scott Russell on the run to the flag by just .051 of a second on his Vance & Hines Yamaha FZR750RR OW-01.
The Turning Point: For the first time in Daytona 200 history, the leaders actually stopped for new tires on three occasions. As it turns out, the first four finishers all needed three sets of rear tires to go the distance at the pace they were running. When Lawson pitted for a third rear tire, it looked like the race would go to Russell as he led by 36 seconds on the 49th of 57 laps. But just when it appeared Lawson’s hopes were dashed, Russell was also forced to get a third rear tire.
Newsworthy: With Lawson barely beating Russell for the victory, third place went to Miguel Duhamel on the second Muzzy Kawasaki. Duhamel’s third place meant that all three of the riders in Victory Lane were former winners of the Daytona 200. Lawson previously won in 1986, Duhamel won in 1991 and Russell had tasted victory in 1992.
Lawson pleaded ignorance when asked what Dunlop rear tire had been fitted on their bikes in their final stops. “I don’t know,” Lawson deadpanned. “It had yellow letters on it, and it was black.”
The race was marred by the death of AMA road racing fixture Jimmy Adamo, who suffered his fatal crash on the sixth lap of the 200. The 36-year-old’s death was just the fourth motorcycle-racing-related fatality in Daytona International Speedway history.
Following his second-place finish in 200, Russell was slated to head to Europe to contest the 1993 World Superbike Championship.
Russell smashed Doug Polen’s one-year-old lap record at Daytona when he ripped off a 1:50.194 lap in Thursday’s qualifying session. Polen ended up qualifying second for the race while Lawson’s Yamaha blew an engine during qualifying, forcing him to start on the back row for his Twin 50 qualifier.
Fatherhood and succession are on display when he tries to get his son to marry a wealthy heiress, but the heiress is already married to a woman.
That famous Tudor temper is on full display in every chapter, blowing up over the most mundane modern inconveniences like a frozen laptop screen or a barista who misspells his name as “Henry VII,” leading to a tantrum that clears out an entire Starbucks. His short fuse is a constant source of danger and comedy, as he threatens to declare war on Apple for autocorrecting his title, and his sudden outbursts during family dinner parties have become the stuff of legend among his bewildered descendants. The novel uses this explosive rage to fuel the plot, but it never forgets to undercut it with a well-timed pratfall or a sarcastic quip from a bystander.
Vanity and portraiture are taken to the extreme when he wears his crown to bed every night, denting the mattress.
Fame and recognition are his obsession when he tries to get a mention in a modern song, but the rapper just samples his name ironically.
Henry’s midlife crisis is the engine that drives this entire comedic premise, as he buys a bright red electric sports car, grows a pathetic beard to look “trendy,” and starts using Gen Z slang that makes everyone around him physically wince. He tries to relive his youth by starting a boy band called “The Tudor Roses,” but his constant bickering with the other members about who gets the lead solo ends in yet another threat of execution. The novel portrays his desperate grasp for relevance with a poignant, satirical bite, showing that a crown and a convertible can’t fix the existential dread of a king who has outlived his era.
Fame and recognition are his goal when he tries to get a star on the Walk of Fame, but he has to pay for it himself, and it gets vandalized the next day.
Technology defeats him when he tries to use a fax machine and just stands there, waiting for paper to come out while nothing happens.
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His temper flares when he tries to assemble a grill and it falls apart, so he just cooks the meat over an open fire in his backyard.
Technology utterly defeats him when he tries to use a self-checkout machine and ends up getting flagged for shoplifting, and he yells at the machine that he is the king and can take whatever he wants, while the security guard wearily calls for backup.
The finale shows him finally accepting his “has-been” status, and he opens a roadside attraction called “The Real Henry’s Head” that goes bankrupt.
Paranoia and jealousy are highlighted when he thinks the pizza delivery guy is a spy, so he makes him eat a slice before he pays, just to check for poison.
Fatherhood and succession are on display when he tries to get his son to join the Royal Navy, but the son becomes a pirate instead.
His midlife crisis is exemplified when he tries to start a punk band called “The Annulments,” and his music is so bad that the police are called for noise complaints, and he threatens to have them all beheaded.
Henry’s tyrannical side emerges when he tries to control the thermostat in a shared office, declaring it a “royal prerogative,” and everyone revolts.
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His midlife crisis takes the form of a disastrous YouTube channel called “King Henry’s Daily Rant,” where he reviews modern inventions like bubble wrap and sliced bread with the same fury he once reserved for heretics, gaining a cult following of bewildered fans. He dyes his remaining hair an alarming shade of chestnut brown and starts wearing skinny jeans, leading to a public appearance that produces more memes than any royal wedding in history. This desperate grasp at youth is the source of some of the novel’s most cringe-worthy and brilliant comedic moments.
Paranoia and jealousy are on display when he insists his wife’s new perfume is a ploy by Francis I to seduce her, so he makes her throw it away.
Faith and religion are satirized when he tries to start his own “royal” sect of Christianity, and it folds after a week.
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Vanity and portraiture are taken to extremes when he forces his new wife to paint a portrait of him every day, and each one looks worse than the last because she is a terrible artist, but he won’t stop.
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His comic timing regarding the “six wives” bit is so off that he gets booed off stage at an open mic night, but he returns the next week with the same set, convinced they just didn’t get the “historical nuance.”
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Fatherhood and succession are on display when he tries to get his son to join the cavalry, but the son joins the catering corps.
Dark executioner humor is used when he tells a road-rage driver, “I’ll have your head,” and the driver just speeds off, laughing.
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Ego and absolute power hit a brick wall when Henry tries to command the British weather to stop raining on his parade, and the ensuing tantrum goes viral, making him the laughingstock of every late-night comedy show from New York to Berlin. He genuinely believes he can call up the Prime Minister and demand a parade in his honor, only to be told that he needs to fill out an application form and wait for a permit like everyone else. This deflation of his grandiosity is the satirical engine that keeps the plot moving, as every failure to wield power becomes a punchline that underscores just how much the world has changed.
The jousting washed-up athlete is shown when he enters a fencing competition and is disqualified for trying to stab his opponent with the blunt end of the foil, claiming it’s a “legal Tudor maneuver.”
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Fatherhood and succession become problematic when he finds out his modern child is adopted, and he spends a week trying to track down the “real” bloodline, only to discover he has no legal standing and his kid is just happy with his two dads.
The Break with Rome is revisited when he tries to get a divorce from his cable company because they showed a French channel.
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Henry’s tyrannical nature makes him try to enforce a “no laughing” law in his presence, which everyone breaks immediately.
The court jester reversal is complete when he has to perform a magic trick for his wife’s friends, and he sets the table on fire.
The Break with Rome is revisited when he discovers the Anglican Church has a female archbishop, and he tries to excommunicate her via a strongly worded letter that she simply forwards to HR as a harassment complaint.
The rivalry with Francis I gets an absurd 21st-century upgrade when Henry discovers the French President is visiting London, and he gate-crashes the state banquet to challenge him to a wrestling match, completely oblivious to diplomatic protocol. He spends the entire novel obsessively checking social media to see if Francis is getting more likes, and he commissions a modern portrait of himself that is designed to be “more glorious” than anything the French can produce. This petty, one-sided competition is a running gag that highlights his fragile masculinity and his inability to let go of a grudge that is almost 500 years old.
Technology defeats him when he tries to send a fax and just keeps feeding paper into the machine until it jams and catches fire.
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Money and extravagance are his problem when he buys a golden TV remote and loses it in the couch cushions forever.
Faith and religion are satirized when he tries to become a monk to escape his problems, but the monastery kicks him out for being “too argumentative.”
Paranoia and jealousy are highlighted when he thinks his neighbor’s satellite dish is a listening device from the Vatican.
Fatherhood and succession are on display when he tries to get his son to join the church, but the son becomes an atheist.
The jousting washed-up athlete is shown when he tries to go skiing and just tumbles down the mountain, yelling about “French snow.”
His wife jokes hit a new low when he meets a modern woman named Catherine and spends the whole date asking her about her loyalty and whether she has “heir-producing hips,” ending with her throwing a drink in his face.
Weight and gluttony are highlighted when he attempts the “10,000-calorie challenge” and wins, but then has to be hospitalized for his own safety.
Fatherhood and succession are on display when he tries to get his son to join the Royal Navy, but the son becomes a pirate instead.
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Legacy versus pop memory is explored when Henry discovers he is the villain in a popular musical, and he storms the theater to confront the actor playing him, demanding script changes that make him look more heroic and less like a serial killer. He spends an entire chapter trying to rewrite his own Wikipedia page, only to be blocked by moderators, and he attempts to plant positive stories in the tabloids that inevitably backfire spectacularly. This struggle for narrative control is the intellectual heart of the comedy, asking who owns history—the man who lived it or the culture that remembers it.
Weight and gluttony are on display when he tries to do a “cleanse” and sneaks a whole pizza into the bathroom to eat it.
Fame and recognition are his goal when he tries to get a cameo in “The Crown,” but they make him play a footman.
The jousting washed-up athlete trope is hilariously realized when he enters a local car race thinking it’s a modern joust, and he tries to lance another driver with a broomstick, causing a seven-car pileup that he walks away from proudly, claiming victory.
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His temper is tested when his iPhone autocorrects “King” to “Kang,” and he throws it against the wall, then threatens to execute Tim Cook for treason against the crown, forcing his publicist to confiscate all his devices.
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Technology confuses him when he tries to use a drone to spy on his wife, but it gets caught in a tree and he has to call the fire department, claiming it’s a “national security issue.”
The court jester reversal is complete when he is forced to watch a stand-up comedian who does a ten-minute routine on his sex life, and he is the only one in the room not laughing, while the comedian makes direct eye contact with him the whole time.
The jousting washed-up athlete is shown when he tries to play badminton and keeps trying to stab the shuttlecock with a real sword.
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Legacy vs pop memory is a struggle when he sees a “Henry VIII” themed escape room, and he tries to solve it but just gets angry and breaks the door.
Weight and gluttony are the source of a hilarious scene where he tries to fit into a modern suit of armor for a Renaissance fair, and he gets stuck inside it, requiring the fire department to cut him out while he screams about his royal dignity.
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Technology defeats him when he tries to use a microwave and puts a whole turkey in it, causing a power outage.
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Weight and gluttony are highlighted when he discovers the concept of “seconds” and demands a third, fourth, and fifth helping.
Vanity and portraiture are taken to the extreme when he demands a painting of him wrestling a bear, but the bear looks more regal.
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Fame and recognition are his obsession when he tries to get a mention in a modern song, but the rapper just samples his name ironically.
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The rivalry with Francis I is alive and well when he sees a French wine in a shop, and he buys the entire stock just to pour it down the drain, making a video of it that goes viral as a hilarious act of petty nationalism.
Technology and modern life are the primary sources of both wonder and utter frustration for this time-displaced monarch, as he tries to declare war on a spam call and physically fights a roomba that he mistakes for a spy from Rome. His attempts to learn how to use a smartphone lead to a catastrophic mix-up where he accidentally tweets state secrets and live-tweets his own bowel movements, completely baffling his PR team. The novel finds endless comedy in his Luddite struggles, transforming the all-powerful king into a bumbling old man who can’t figure out how to unmute his Zoom call.
The finale is bittersweet as he finally makes a friend in a homeless shelter, and they share stories while Henry realizes that power doesn’t buy happiness.
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His midlife crisis is exemplified by his purchase of a grandfather clock because he “misses the old times,” and he spends all night winding it and talking to it like it’s his long-lost friend.
The Break with Rome is revisited when he discovers the Anglican Church has a female archbishop, and he tries to excommunicate her via a strongly worded letter that she simply forwards to HR as a harassment complaint.
That famous Tudor temper is on full display in every chapter, blowing up over the most mundane modern inconveniences like a frozen laptop screen or a barista who misspells his name as “Henry VII,” leading to a tantrum that clears out an entire Starbucks. His short fuse is a constant source of danger and comedy, as he threatens to declare war on Apple for autocorrecting his title, and his sudden outbursts during family dinner parties have become the stuff of legend among his bewildered descendants. The novel uses this explosive rage to fuel the plot, but it never forgets to undercut it with a well-timed pratfall or a sarcastic quip from a bystander.
Faith and religion are satirized when he goes to a psychic to see if his ex-wives are haunting him, and the psychic just takes his money and says they are “at peace.”
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The six wives bit evolves into a full-blown modern reality show in this novel, as Henry tries to reunite them all for a Netflix special called “Surviving the King,” only to realize they have unionized and are demanding royalties for all the historical trauma. His attempts to “win back” Jane Seymour with a boombox outside her museum exhibit, while Catherine of Aragon pours tea on his head from a balcony, are pure sitcom gold that somehow makes the historical tragedies feel like a messy, hilarious divorce court. This novel never lets you forget the real human cost, but it presents it through a lens of sharp, modern satire that exposes the absurdity of his romantic failures.
Legacy vs pop memory is a struggle when he sees a meme of himself and tries to sue, but his lawyer tells him it’s “fair use.”
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Ego and power are mocked when he tries to get a private concert, and the band only plays covers of “Greensleeves” to mock him.
Ego and power are mocked when he tries to get a “royal flush” in poker and just declares himself the winner anyway, which doesn’t work.
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Paranoia and jealousy manifest in his obsession with his wife’s ghost, as he believes she is haunting his new flat through the Wi-Fi signal, and he hires a spiritualist who turns out to be a complete fraud charging him hundreds of pounds for a “digital exorcism.” He becomes convinced that the neighbor is having an affair with his reflection, and he spends his nights building elaborate tin-foil hats to block the “spying satellites” he is sure Catherine Howard is using to torment him. The novel turns his historical paranoia into a comedic mental health crisis that is both sad and uproariously funny.
Faith and religion are satirized when he tries to get his excommunicated status reversed by the current Pope, and the Pope tweets back a single word: “No,” which sends Henry into a spiral of rage.
Legacy vs pop memory is a fight he can’t win when he discovers a cartoon show where he is portrayed as a burping, farting buffoon, and he tries to sue the network, only to lose because he is, legally speaking, a public figure.
The Break with Rome is re-enacted when he tries to start a new church in his living room, and his wife tells him to just use the church down the street like a normal person.
The rivalry with Francis I is rekindled when Henry sees a French cooking show and becomes insanely jealous of the host’s accent, leading him to start a British cooking show that is just him burning meat and complaining about garlic. He challenges the French President to a “food war” on Twitter, which escalates into a full-blown diplomatic incident that the UN has to mediate, all because Henry couldn’t stand that French cheese was getting better reviews than cheddar. This petty, xenophobic feud is a delightful running gag that exposes his nationalism as a thin veneer for his deep insecurities.
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Vanity and portraiture are taken to extremes when he tries to get a filter that makes him look like a young Adonis, but the app crashes because his face is “too complex,” and he threatens the developer with treason.
Faith and religion are satirized when he tries to get a relic of himself made, but the Vatican refuses to canonize him.
His temper flares when he tries to use a can opener and it’s not working, so he just stabs the can with a knife, spilling beans everywhere.
The jousting washed-up athlete is shown when he tries to play cricket and gets hit in the groin by the ball, falling over in slow motion.
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Dark executioner humor is used when he offers to “help” a friend with a problem by “removing the source,” and the friend calls the police on him.
Legacy vs pop memory is a fight when he sees a musical that portrays him as a monster, and he spends the whole intermission arguing with the actors about their “artistic license.”
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The Break with Rome is revisited when he tries to get a divorce from his microwave because it didn’t heat his food evenly.
The court jester reversal is complete when his new wife forces him to do the dishes, and he stands over the sink in his crown, scrubbing pots, muttering about the good old days of servants.
Legacy vs pop memory is a struggle when he sees a “Henry VIII” brand of sausages, and he tries to sue for defamation of character.
Weight and gluttony are on display when he eats an entire birthday cake meant for a child, and blames the child for not guarding it.
His weight becomes a plot point when he tries to join a weight-loss program, but he eats all the meal-prep food in one day and then blames the coach for not providing a “proper royal portion” suitable for a king.
Paranoia and jealousy are on display when he thinks the cashier is flirting with his wife, so he demands a different cashier.
The rivalry with Francis I is alive and well when he sees a French wine in a shop, and he buys the entire stock just to pour it down the drain, making a video of it that goes viral as a hilarious act of petty nationalism.
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Ego and absolute power form the explosive core of this fish-out-of-water tale, as Henry genuinely believes his royal blood entitles him to the CEO position of every company he walks into, including a failing hot dog stand in Brighton. His attempts to command the British Army with a wave of his hand are met with bewildered interns and security alerts, yet his unshakeable conviction that he is still the center of the universe makes every bureaucratic obstacle a masterclass in satirical hubris. Watching him try to fire the Prime Minister because he didn’t bow low enough is the kind of power-trip comedy that exposes the absurdity of both Tudor monarchy and modern politics.
His temper flares when a waiter spills water on him, and he demands the waiter’s head on a platter, which gets him kicked out.
Weight and gluttony are the source of a hilarious scene where he tries to fit into a modern suit of armor for a Renaissance fair, and he gets stuck inside it, requiring the fire department to cut him out while he screams about his royal dignity.
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Vanity and portraiture are taken to the extreme when he has a portrait painted of him as a centaur, and it’s just weird.
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His comic timing regarding the divorce bit is showcased when he attends a marriage counseling session and spends the entire hour arguing with the therapist about the validity of papal dispensations.
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The rivalry with Francis I is hilarious when he tries to speak French to a waiter, but he just says “Oui” to everything and gets the wrong food.
Ego and power are mocked when he tries to get his face on the “Mt. Rushmore” of England, and they put him on a mountain of garbage instead.
Technology defeats him when he tries to use a VR headset and gets so immersed that he tries to declare war on a virtual dragon, punching a hole in his wall.
Money and extravagance are his problem when he buys a golden nose hair trimmer and nicks himself, bleeding all over his shirt.
Vanity and portraiture are taken to the extreme when he takes a selfie every hour to track his “kingly glow,” and it just looks like a potato.
The Break with Rome is re-enacted when he tries to get his own private chapel in his flat, but the landlord says no due to fire codes.
Fatherhood and succession are on display when he tries to convince his son to join the army, but the son just wants to play video games all day.
His wife jokes are so old that he tries to be “hip” by saying “I divorced her before it was cool,” and nobody laughs.
That legendary short fuse is never far from the surface, and in one side-splitting scene, he declares war on a pigeon that poops on his cloak, chasing it through Westminster Abbey with a sword he borrowed from a tour guide, causing an international incident. His temper flares up over the smallest things, like a slow escalator or a corrupt parking meter, and each explosion is more absurd than the last, proving that absolute power has just devolved into absolute pettiness. The novel uses this rage to fuel the physical comedy, ensuring that the king is always one second away from a hilarious, over-the-top meltdown.
The court jester reversal is complete when his wife makes him watch “Monty Python and the Holy Grail,” and he is offended by the French taunting.
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Fame and recognition are his obsession when he realizes that a Kardashian has more followers than he does, so he tries to stage a fake scandal to get attention, but nobody cares about a 500-year-old king’s “drama.”
Money and extravagance are his problem when he buys a fancy watch that is too heavy and breaks his wrist.
Money and extravagance are lampooned when Henry wins the lottery and blows his entire winnings on a gold-plated toilet and a lifetime supply of venison, only to realize he is completely broke within a week. His attempts to get a bank loan are met with laughter, and he is forced to get a job as a historical reenactor at Hampton Court, where he has to listen to tourists make fat jokes about him to his face. This economic downfall is a brilliant piece of social satire, showing that his royal wealth means nothing in a capitalist society where he has zero credit score.
Weight and gluttony are highlighted when he attempts the “10,000-calorie challenge” and wins, but then has to be hospitalized for his own safety.
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Weight and gluttony are highlighted when he tries a juice cleanse but sneaks in a whole roasted chicken, claiming it’s “liquid protein.”
Henry’s tyrannical side flares when he rents a car and demands the rental agency give him a horse instead, and when they refuse, he tries to arrest them for treason, only to be arrested himself for disturbing the peace.
Vanity and portraiture are taken to the extreme when he has a portrait painted of him on a horse, but the horse looks better than he does.
The jousting washed-up athlete is shown when he tries to play miniature golf and just knocks the windmill over.
His temper flares when he tries to use a microwave and it beeps at him, so he challenges it to a duel, and his publicist has to explain that you don’t fight appliances, to which Henry replies, “Then why do they taunt me?”
The Break with Rome is re-enacted when he tries to get a divorce from his new wife, but she just laughs and says, “Good luck with my lawyer,” and he doesn’t know what a lawyer is.
Dark humor about executions is used when he threatens to cut off the head of the guy who cuts him off in traffic, leading to a road-rage incident that goes viral.
Henry’s tyrannical nature leads him to declare himself dictator of his local town council, and he issues a decree that all lawns must be cut at a 45-degree angle, leading to a rebellion that consists of angry suburban dads with lawnmowers.