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Katy Brand's right about female comedians Heard the one about women on TV?
(about 11 hours later)
Katy Brand's new novel, Brenda Monk is Funny, published this week, contains a very interesting theory about why men are more visible in comedy than women. She argues on the basis of pure economics.Katy Brand's new novel, Brenda Monk is Funny, published this week, contains a very interesting theory about why men are more visible in comedy than women. She argues on the basis of pure economics.
Women are under-represented in TV comedy for a variety of reasons, the hackneyed "fear that women aren't funny" being one of them. Therefore, the fees available for being funny on television do not, broadly, go to women. So, aspirant female standups do not have the money to support the tours they should do to sharpen their material and become better known.Women are under-represented in TV comedy for a variety of reasons, the hackneyed "fear that women aren't funny" being one of them. Therefore, the fees available for being funny on television do not, broadly, go to women. So, aspirant female standups do not have the money to support the tours they should do to sharpen their material and become better known.
It's hard enough to pay travel expenses for low-paid live club gigs, never mind touring a solo show or going to the Edinburgh fringe, which is the very best place to hone, to practise and garner attention. Edinburgh is the breeding ground for most of the celebrated comedians we know today.It's hard enough to pay travel expenses for low-paid live club gigs, never mind touring a solo show or going to the Edinburgh fringe, which is the very best place to hone, to practise and garner attention. Edinburgh is the breeding ground for most of the celebrated comedians we know today.
Anyone who is currently packing for this year's fringe, which kicks off in a few days' time, will know the huge costs attached: flat rental for the month; venue hire (which falls to the performers, who often discover they have made a loss even after a series of sell-out shows); advertising space in the programme; poster printing and flyers…Anyone who is currently packing for this year's fringe, which kicks off in a few days' time, will know the huge costs attached: flat rental for the month; venue hire (which falls to the performers, who often discover they have made a loss even after a series of sell-out shows); advertising space in the programme; poster printing and flyers…
If women aren't getting TV fees, they either can't afford to tour or they must subsidise themselves with other jobs that can prevent them from travelling anyway. Neither will they get a live audience easily if they haven't been on TV.If women aren't getting TV fees, they either can't afford to tour or they must subsidise themselves with other jobs that can prevent them from travelling anyway. Neither will they get a live audience easily if they haven't been on TV.
It is, in a stroke of good news for fans of cliche, both a Catch 22 and a vicious circle. If they can't afford to practise their material and find a fan base beyond their home towns, they won't get on to TV so they won't be able to… well, you get the idea.It is, in a stroke of good news for fans of cliche, both a Catch 22 and a vicious circle. If they can't afford to practise their material and find a fan base beyond their home towns, they won't get on to TV so they won't be able to… well, you get the idea.
I find this economic theory beautifully refreshing, because we're all so tired of the sociological debate about why comedy seems so male.I find this economic theory beautifully refreshing, because we're all so tired of the sociological debate about why comedy seems so male.
What if we can stop bickering forever about "whether women are funny", "whether women really want to show off", "whether women dare interrupt", "whether controlling an audience is a mirror of the aggressive sex act" and all of that stale nonsense?What if we can stop bickering forever about "whether women are funny", "whether women really want to show off", "whether women dare interrupt", "whether controlling an audience is a mirror of the aggressive sex act" and all of that stale nonsense?
What if I never again have to tell people about the episode of my Radio 4 show, Heresy, which we did with an all-female panel (Sue Perkins, Maureen Lipman and Cerys Matthews), which I rather expected would provide a different sort of observational, anecdotal, "female" humour but actually disintegrated into a clownish series of puns, running jokes, hysterical gag contests and snatches of song that anyone might have called "typical male comedy" if they didn't have their glasses on?What if I never again have to tell people about the episode of my Radio 4 show, Heresy, which we did with an all-female panel (Sue Perkins, Maureen Lipman and Cerys Matthews), which I rather expected would provide a different sort of observational, anecdotal, "female" humour but actually disintegrated into a clownish series of puns, running jokes, hysterical gag contests and snatches of song that anyone might have called "typical male comedy" if they didn't have their glasses on?
What if people finally understood that Victoria Wood, Dawn French, Jo Brand, Sarah Millican and Sandi Toksvig are exceptional for their talent rather than their gender?What if people finally understood that Victoria Wood, Dawn French, Jo Brand, Sarah Millican and Sandi Toksvig are exceptional for their talent rather than their gender?
What if it's just about money?What if it's just about money?
You might say that the problem of not getting TV fees to support a new career would apply to any aspiring comedian, but producers and bookers are much quicker to offer space to unknown men than women. They do want to "break new talent", and if an obscure male comic has a bad show then they will assume the problem is him, or an off night, not his gender. A woman who gets no laughs, however, will appear to confirm a broader sweep of secret fears.You might say that the problem of not getting TV fees to support a new career would apply to any aspiring comedian, but producers and bookers are much quicker to offer space to unknown men than women. They do want to "break new talent", and if an obscure male comic has a bad show then they will assume the problem is him, or an off night, not his gender. A woman who gets no laughs, however, will appear to confirm a broader sweep of secret fears.
I'm not unsympathetic; a television series is not a charity enterprise, and of course their first priority must be to make it funny. But how do they test what's funny? By gauging audience laughter and audiences react best to what they know. It's not just producers who are sexist; crowds are too. With the best will in the world, they can feel nervous for female performers – and, with less goodwill, irritated when they see women appearing to boss men around.I'm not unsympathetic; a television series is not a charity enterprise, and of course their first priority must be to make it funny. But how do they test what's funny? By gauging audience laughter and audiences react best to what they know. It's not just producers who are sexist; crowds are too. With the best will in the world, they can feel nervous for female performers – and, with less goodwill, irritated when they see women appearing to boss men around.
This is a problem that will disappear as soon as female comics are a more common sight, but I'm afraid that the new policy of insisting on "at least one per show" might not help.This is a problem that will disappear as soon as female comics are a more common sight, but I'm afraid that the new policy of insisting on "at least one per show" might not help.
Too often, productions translate "at least one per show" into "one per show". I'm not a comedian but I have been told straight by TV bookers, when giving my availability to appear on something: "We already have a woman for the 19th… could you do the 26th?"Too often, productions translate "at least one per show" into "one per show". I'm not a comedian but I have been told straight by TV bookers, when giving my availability to appear on something: "We already have a woman for the 19th… could you do the 26th?"
As a performer, I feel happier and more likely to jump in if I'm not the only woman there; as an observer of audiences, I see they are more relaxed about women when we appear in greater numbers; and as a viewer, I'm more interested in any show when there is a variety of faces and voices.As a performer, I feel happier and more likely to jump in if I'm not the only woman there; as an observer of audiences, I see they are more relaxed about women when we appear in greater numbers; and as a viewer, I'm more interested in any show when there is a variety of faces and voices.
All it would take is for one generation of broadcasters to take the plunge and aim for a 50/50 mix, using the dozens of female performers that Katy Brand says are out there waiting for a break.All it would take is for one generation of broadcasters to take the plunge and aim for a 50/50 mix, using the dozens of female performers that Katy Brand says are out there waiting for a break.
Does it matter? Should they bother? It's only comedy, after all, not the House of Commons or the Supreme Committee for Educational Policy in Saudi Arabia. And yet I do think it has importance.Does it matter? Should they bother? It's only comedy, after all, not the House of Commons or the Supreme Committee for Educational Policy in Saudi Arabia. And yet I do think it has importance.
There's a lot of fuss in the poker industry about women being under-represented, but I can't bring myself to worry much about that; as long as they're allowed and made welcome, it just doesn't really matter whether women play poker or not.There's a lot of fuss in the poker industry about women being under-represented, but I can't bring myself to worry much about that; as long as they're allowed and made welcome, it just doesn't really matter whether women play poker or not.
Television, though, is where our national conversation is held. It's where opinions are aired and formed, jokes made and voices heard. Whether comedy, news debate, drama or documentary, if any gender, race, class or age group dominates out of all proportion to our true national mix, that conversation is weakened and our opinions misshapen as a result. It is worth trying harder.Television, though, is where our national conversation is held. It's where opinions are aired and formed, jokes made and voices heard. Whether comedy, news debate, drama or documentary, if any gender, race, class or age group dominates out of all proportion to our true national mix, that conversation is weakened and our opinions misshapen as a result. It is worth trying harder.
Katy Brand's book is very enjoyable, by the way. Lots of funny jokes in it. But I would hope that goes without saying.Katy Brand's book is very enjoyable, by the way. Lots of funny jokes in it. But I would hope that goes without saying.