Ellie Tomsett (2023). Stand-up Comedy and Contemporary Feminisms: Sexism, Stereotypes and Structural Inequalities

Sexism, Stereotypes and StructuralInequalities is an in-depth look at women and feminism in stand-up comedy in the United Kingdom.The book takes an intersectional feminist approach to the study of comedy and importantly, states that this approach is inclusive of all women.In a political climate that is increasingly hostile towards transgender women, author Ellie Tomsett's assertion is, sadly, a welcome and necessary one.But, as Tomsett is the first to admit, women in the UK comedy scene are still primarily cisgender and white.Because of this, the inclusion of a diversity of voices can sometimes be limited.Again, this is something the book acknowledges and actively tries to correct as evidenced in Chapter 4's discussion of the additional harassment that women of color face online (misogynoir) and the ableism of comedy venues.From discussing the historical roots of comedy in the UK to the rise of alt-right, incel, and TERF culture, this book argues that to fully explore feminism and comedy, it is important to address the political, economic, and social context in which it arises and operates within.Stand-Up Comedy and Contemporary Feminisms does an excellent job of unpacking the implications of policies and practices that, while on the surface may not appear to be gendered, have a great impact on the lived experiences of women in comedy.For example, while the lack of funding for individual comedians in the UK might appear like a gender-neutral problem, Tomsett illustrates how it disproportionately impacts women who are already marginalized in the industry.Tomsett's dedication to women in comedy is apparent in every aspect of the book including its methodology.As Tomsett argues, comedy research still tends to "foreground analysis of the content and performance style of comedy" (p.3), without considering how comedy is created and the ways audience receive it.While Tomsett analyzes women's comedy routines (both feminist and postfeminist), she also includes rich information collected from her time as a participant-observer at the UK Women in Comedy festival, interviews with both comedians and comedy audience members, and even presents her own forms of policy-driven activism.Tomsett's use of multiple methodologies lends a personal richness to the text that demonstrates a deep-felt trust between researcher and research-participants.