There's no bad publicity except an obituary.

The remark compresses a cynical but pragmatic view of fame: attention—whether admiring or hostile—can be converted into cultural capital, ticket sales, or influence. “Bad publicity” is reframed as useful so long as the subject remains alive to exploit it; the only truly “bad” publicity is an obituary because it marks the end of agency and the end of future opportunities. The joke also hints at Behan’s characteristic gallows humor and his awareness of how public narratives are manufactured. More broadly, it critiques a media ecosystem that rewards spectacle over substance, where notoriety can function as a substitute for merit.