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Comedy Book: How Comedy Conquered Culture–and the Magic That Makes It Work
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"Comedy Book changes the way we talk about an art form that is more diverse and exciting than ever before.” (Seth Meyers)
"A sharp, loving, well written exploration and analysis of the art form that makes us smile, helps us relate, and is perpetually mysterious." (Jenny Slate)
From a beloved comedy critic, a wisecracking, heartfelt, and overdue chronicle of comedy’s boom—and its magic.
Comedy is king. From multimillion-dollar TV specials to sold-out stand-up shows and TikTok stardom, comedy has never been more popular, democratized, or influential. Comedians have become organizing forces across culture—as trusted as politicians and as fawned-over as celebrities—yet comedy as an art form has gone under-considered throughout its history, even as it has ascended as a cultural force.
In Comedy Book, Jesse David Fox—the country’s most definitive voice in comedy criticism and someone who, in his own words, “enjoys comedy maybe more than anyone on this planet"—tackles everything you need to know about comedy. Weaving together history and analysis, Fox unravels the genre’s political legacy through an ode to Jon Stewart, interrogates the divide between highbrow and lowbrow via Adam Sandler, and unpacks how marginalized comics create spaces for their communities. Along the way, Fox covers everything from comedy in the age of political correctness and Will Smith’s slap to the right wing’s relationship with comedy and, for Fox, comedy’s ability to heal personal tragedy.
With memorable cameos from Jerry Seinfeld, Dave Chappelle, John Mulaney, Ali Wong, Kate Berlant, and countless others, Comedy Book is an eye-opening education in how to engage with our most omnipresent art form, a riotous history of American pop culture, and a love letter to laughter.
"Comedy Book changes the way we talk about an art form that is more diverse and exciting than ever before.” (Seth Meyers)
"A sharp, loving, well written exploration and analysis of the art form that makes us smile, helps us relate, and is perpetually mysterious." (Jenny Slate)
From a beloved comedy critic, a wisecracking, heartfelt, and overdue chronicle of comedy’s boom—and its magic.
Comedy is king. From multimillion-dollar TV specials to sold-out stand-up shows and TikTok stardom, comedy has never been more popular, democratized, or influential. Comedians have become organizing forces across culture—as trusted as politicians and as fawned-over as celebrities—yet comedy as an art form has gone under-considered throughout its history, even as it has ascended as a cultural force.
In Comedy Book, Jesse David Fox—the country’s most definitive voice in comedy criticism and someone who, in his own words, “enjoys comedy maybe more than anyone on this planet"—tackles everything you need to know about comedy. Weaving together history and analysis, Fox unravels the genre’s political legacy through an ode to Jon Stewart, interrogates the divide between highbrow and lowbrow via Adam Sandler, and unpacks how marginalized comics create spaces for their communities. Along the way, Fox covers everything from comedy in the age of political correctness and Will Smith’s slap to the right wing’s relationship with comedy and, for Fox, comedy’s ability to heal personal tragedy.
With memorable cameos from Jerry Seinfeld, Dave Chappelle, John Mulaney, Ali Wong, Kate Berlant, and countless others, Comedy Book is an eye-opening education in how to engage with our most omnipresent art form, a riotous history of American pop culture, and a love letter to laughter.
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First published November 7, 2023
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March 31, 2024
“Comedy – broadly, historically – is the art of taking serious things not seriously. In the classroom of our culture, for a very long time, comedians have been placed in the back, cracking jokes at everything in front of them. Comedians were our society’s ombudsmen, our official bullsh--t callers. And, as time as gone on, comedians have done such a good job at this that it’s become clearer and clearer that a lot of our assumptions about our society are bullsh--t. As a result, the media has imbued comedians like Dave Chappelle, Amy Schumer, most current late-night hosts, and the entire cast of Saturday Night Live with a status previously granted only to those who claim to be telling us the truth – journalists, politicians, and other public intellectuals. But forget politics. Comedy is, dare I say, cool now…”
- Jesse David Fox, Comedy Book: How Comedy Conquered Culture – and the Magic that Makes it Work
The audacity of Jesse David Fox’s Comedy Book is what drew me in. Along with love, beauty, and good literature, comedy is among the most subjective elements on earth. An attempt to deconstruct “the magic that makes it work” – as promised in the subtitle – is an irresistible hook.
For the most part, Comedy Book works wonderfully. It samples broadly from all different types of humor, is written insightfully, and makes some fascinating points. While it is not intrinsically funny – though Fox, unfortunately, tries to land his own punchlines – it refers to enough classic bits to put a smile on your face.
To be sure, there are times when Fox digresses too far, engages in arguments that don’t really matter, and becomes a bit too certain in his proclamations, but overall, his aggressive opinions – and his efforts to overlay objectivity onto a medium that rejects such attempts – are consistently engaging.
***
Comedy is a vast subject, and no single book could capture all its forms and permutations. To that end, Fox limits his scope from the 1990s to today. He explains these parameters by observing the centrality of comedy to our culture. According to Fox, what makes us laugh defines us, in the way that music defined individuals in other generations. This is partly a function of social media technologies and podcasts, which has dispensed with the old gatekeepers, and opened the floodgates of content. Wannabe standups are no longer relegated to open-mic nights in front of a half dozen glass-eyed drunks. Now, a person can upload their act to the internet and – ostensibly at least – be accessible to the entire world.
Fox’s definition of “comedy” is very broad, and he tries to cover all the forums in which people try to make others laugh. There is a heavy emphasis on traditional standup routines, but he also includes movies, television shows, sketch comedy, TikTok and Twitter, and everything else you can imagine. Fox also makes a concerted effort to incorporate a diverse array of performers into the text.
It should be noted, however, that Comedy Book is focused on American comedy. This makes sense, given that Fox is an American comedy critic – a profession that apparently exists! – and attempting a pan-global humor survey would be an impossibly large undertaking. But if you’re looking for an international perspective, you’ll have to go elsewhere.
***
Comedy Book is arranged by theme. An early chapter on the audience, for instance, discusses the type of relationship a comedian has to their fans. Later in the book, there is a chapter on laughter, and whether comedy has to be funny. Fox does not think so, pointing out powerful shows by Dave Chappelle and Hannah Gadsby that took the form in new directions. While this is just a semantic argument – it doesn’t matter what you call it, really – it is absorbing.
Some of these chapters work better than others, though almost all of them have something interesting to say.
One of my favorites had to do with “timing,” which refers not to a jokester’s mastery of the rhythms of comedy, but the appropriate waiting-period before making jokes about tragedies. Fox uses the September 11, 2001 terror attacks as his organizing principle, noting that if someone told a joke too soon, a person in the audience would scream “too soon!” If they waited too long, though, the audience wouldn’t understand the reference. To those who argue that comedians should avoid this realm completely, Fox perceptively notes that it’s off-putting to simply ignore world-historical events. If you were a comedian in New York City on September 12, 2001, for example, it would’ve been super jarring – to the point of insensitivity – to stand up on stage and observe how the cable company is always late.
Another stellar sequence breaks down the joke-crafting process. For instance, Fox discusses how Chris Rock refines his material by bombing in front of small audiences, so that he better understands what works and what does not. Comedy is an art, and art is a craft, and it’s illuminating to see how it is created. After finishing this, you’re going to want to fire up a comedy special or two, and watch it with new eyes and ears.
***
Fox comes across as a very smart guy, and a lot of Comedy Book is highbrow. He discusses play theory, relief theory, the impact of Harvard on The Simpsons, and cites to psychological tracts. Nevertheless, he does not neglect the joys of the lowbrow, going so far as to extol the movies of Adam Sandler, and engage in an enlightened discussion of poop jokes.
As I noted above, Fox sometimes tries to get in on the act, with flat results. While he is a sharp writer, with a lot of worthy insights, he is not himself funny, and gets less funny the harder he tries. Thankfully, the people he is writing about are a blast, and I found myself setting the book aside on numerous occasions in order to look up clips or specials. One of the best things about Comedy Book is that it introduces you to a lot of hilarious people that you might not have heard of before.
***
For me, Comedy Book faltered a bit when it tried to discuss “the line” between mere bad taste and outright offensiveness. This is, of course, a major topic of discourse in comedic circles, and always has been.
My issue isn’t with the substance – I agreed with Fox more often than not – but with the tone. Instead of the careful examination he’d undertaken before, he chooses instead to be insufferably self-righteous. As a person who has occasionally mounted a high horse, I am well aware of the rhetorical limitations of smug sanctimony. Here, there are long stretches when comedy disappeared completely, replaced by a lecture on morals. Rather than make his points, he tries to sketch out his own bright lines, an unfunny inversion of George Carlin’s seven words you can’t say on television.
That’s too bad because – again – a lot of what he says is extremely valuable. Comedy has often been at the vanguard of free speech and censorship, making it possible for everyone to express a great deal without fear of the government arresting you for indecency. On the other hand, a lot of comedy has historically been directed at marginalized groups, has trafficked in harmful stereotypes, and has generally engaged in what is known as “punching down.” Thus, we are left with an unresolved tension: just because you can doesn’t mean you should.
***
Though it sags in the middle, Fox manages to finish strong, with a very personal essay on comedy in times of personal grief. This is almost enough to forget some of the tendentiousness that proceeds it.
Going into this, my fear was that – as with wizards – looking behind the curtain would dispel some of the magic of comedy. That turned out not to be true. At its best, Comedy Book is an aid to a richer appreciation of the art of eliciting laughter, and provides a pretty nice list of performers and performances that are worth checking out.
Ultimately, laughter is not the best medicine; medicine still is. But laughter remains vitally important. If you don’t believe me, go watch a video of a pug trying to do anything, and report back how you feel. Though it is imperfect, Comedy Book makes an impassioned case for its subject, even if some of Fox’s opinions – on Adam Sandler movies and otherwise – are not wholly supported.
- Jesse David Fox, Comedy Book: How Comedy Conquered Culture – and the Magic that Makes it Work
The audacity of Jesse David Fox’s Comedy Book is what drew me in. Along with love, beauty, and good literature, comedy is among the most subjective elements on earth. An attempt to deconstruct “the magic that makes it work” – as promised in the subtitle – is an irresistible hook.
For the most part, Comedy Book works wonderfully. It samples broadly from all different types of humor, is written insightfully, and makes some fascinating points. While it is not intrinsically funny – though Fox, unfortunately, tries to land his own punchlines – it refers to enough classic bits to put a smile on your face.
To be sure, there are times when Fox digresses too far, engages in arguments that don’t really matter, and becomes a bit too certain in his proclamations, but overall, his aggressive opinions – and his efforts to overlay objectivity onto a medium that rejects such attempts – are consistently engaging.
***
Comedy is a vast subject, and no single book could capture all its forms and permutations. To that end, Fox limits his scope from the 1990s to today. He explains these parameters by observing the centrality of comedy to our culture. According to Fox, what makes us laugh defines us, in the way that music defined individuals in other generations. This is partly a function of social media technologies and podcasts, which has dispensed with the old gatekeepers, and opened the floodgates of content. Wannabe standups are no longer relegated to open-mic nights in front of a half dozen glass-eyed drunks. Now, a person can upload their act to the internet and – ostensibly at least – be accessible to the entire world.
Fox’s definition of “comedy” is very broad, and he tries to cover all the forums in which people try to make others laugh. There is a heavy emphasis on traditional standup routines, but he also includes movies, television shows, sketch comedy, TikTok and Twitter, and everything else you can imagine. Fox also makes a concerted effort to incorporate a diverse array of performers into the text.
It should be noted, however, that Comedy Book is focused on American comedy. This makes sense, given that Fox is an American comedy critic – a profession that apparently exists! – and attempting a pan-global humor survey would be an impossibly large undertaking. But if you’re looking for an international perspective, you’ll have to go elsewhere.
***
Comedy Book is arranged by theme. An early chapter on the audience, for instance, discusses the type of relationship a comedian has to their fans. Later in the book, there is a chapter on laughter, and whether comedy has to be funny. Fox does not think so, pointing out powerful shows by Dave Chappelle and Hannah Gadsby that took the form in new directions. While this is just a semantic argument – it doesn’t matter what you call it, really – it is absorbing.
Some of these chapters work better than others, though almost all of them have something interesting to say.
One of my favorites had to do with “timing,” which refers not to a jokester’s mastery of the rhythms of comedy, but the appropriate waiting-period before making jokes about tragedies. Fox uses the September 11, 2001 terror attacks as his organizing principle, noting that if someone told a joke too soon, a person in the audience would scream “too soon!” If they waited too long, though, the audience wouldn’t understand the reference. To those who argue that comedians should avoid this realm completely, Fox perceptively notes that it’s off-putting to simply ignore world-historical events. If you were a comedian in New York City on September 12, 2001, for example, it would’ve been super jarring – to the point of insensitivity – to stand up on stage and observe how the cable company is always late.
Another stellar sequence breaks down the joke-crafting process. For instance, Fox discusses how Chris Rock refines his material by bombing in front of small audiences, so that he better understands what works and what does not. Comedy is an art, and art is a craft, and it’s illuminating to see how it is created. After finishing this, you’re going to want to fire up a comedy special or two, and watch it with new eyes and ears.
***
Fox comes across as a very smart guy, and a lot of Comedy Book is highbrow. He discusses play theory, relief theory, the impact of Harvard on The Simpsons, and cites to psychological tracts. Nevertheless, he does not neglect the joys of the lowbrow, going so far as to extol the movies of Adam Sandler, and engage in an enlightened discussion of poop jokes.
As I noted above, Fox sometimes tries to get in on the act, with flat results. While he is a sharp writer, with a lot of worthy insights, he is not himself funny, and gets less funny the harder he tries. Thankfully, the people he is writing about are a blast, and I found myself setting the book aside on numerous occasions in order to look up clips or specials. One of the best things about Comedy Book is that it introduces you to a lot of hilarious people that you might not have heard of before.
***
For me, Comedy Book faltered a bit when it tried to discuss “the line” between mere bad taste and outright offensiveness. This is, of course, a major topic of discourse in comedic circles, and always has been.
My issue isn’t with the substance – I agreed with Fox more often than not – but with the tone. Instead of the careful examination he’d undertaken before, he chooses instead to be insufferably self-righteous. As a person who has occasionally mounted a high horse, I am well aware of the rhetorical limitations of smug sanctimony. Here, there are long stretches when comedy disappeared completely, replaced by a lecture on morals. Rather than make his points, he tries to sketch out his own bright lines, an unfunny inversion of George Carlin’s seven words you can’t say on television.
That’s too bad because – again – a lot of what he says is extremely valuable. Comedy has often been at the vanguard of free speech and censorship, making it possible for everyone to express a great deal without fear of the government arresting you for indecency. On the other hand, a lot of comedy has historically been directed at marginalized groups, has trafficked in harmful stereotypes, and has generally engaged in what is known as “punching down.” Thus, we are left with an unresolved tension: just because you can doesn’t mean you should.
***
Though it sags in the middle, Fox manages to finish strong, with a very personal essay on comedy in times of personal grief. This is almost enough to forget some of the tendentiousness that proceeds it.
Going into this, my fear was that – as with wizards – looking behind the curtain would dispel some of the magic of comedy. That turned out not to be true. At its best, Comedy Book is an aid to a richer appreciation of the art of eliciting laughter, and provides a pretty nice list of performers and performances that are worth checking out.
Ultimately, laughter is not the best medicine; medicine still is. But laughter remains vitally important. If you don’t believe me, go watch a video of a pug trying to do anything, and report back how you feel. Though it is imperfect, Comedy Book makes an impassioned case for its subject, even if some of Fox’s opinions – on Adam Sandler movies and otherwise – are not wholly supported.
December 9, 2024
I wish I hadn't read this book. It completely sucked the joy out of comedy for me. It took something so wonderful and transformed it into the most boring thing I could ever listen to someone talk about, but because I was reading it and the only voice was in my head, it was even more boring. Strongly urge you to skip this book!
There were some clear misses here too. Author mentions the suicide of someone close to her near the end of the book, but she never talks about the tragic suicides among comedians (Chris Farley, Freddie Prinze, John Belushi, Ray Combs, Richard Pryor, Robin Williams, Sam Kinnison, to name a few) or the impact they had on other comedians, like Wayne Brady. Speaking of whom, he is the most brilliant performer I've ever seen do improv, and yet, he doesn't even get a mention in the chapter about improv (or anywhere else in the book)? Neither does Second City, the improv group that graduated people like Tina Fey, Joan Rivers, Bob Odenkirk, Julia Louis Dreyfus, Steve Carell, Dan Akroyd, Amy Sedaris and so many others. She also skipped over John Leguizamo, Trevor Noah, and Jimmy Kimmel on the chapter on political comedy.
This book was truly awful. If I could, I would give this book zero stars (I know I could skip stars, but that's not the same thing as a giant zero).
There were some clear misses here too. Author mentions the suicide of someone close to her near the end of the book, but she never talks about the tragic suicides among comedians (Chris Farley, Freddie Prinze, John Belushi, Ray Combs, Richard Pryor, Robin Williams, Sam Kinnison, to name a few) or the impact they had on other comedians, like Wayne Brady. Speaking of whom, he is the most brilliant performer I've ever seen do improv, and yet, he doesn't even get a mention in the chapter about improv (or anywhere else in the book)? Neither does Second City, the improv group that graduated people like Tina Fey, Joan Rivers, Bob Odenkirk, Julia Louis Dreyfus, Steve Carell, Dan Akroyd, Amy Sedaris and so many others. She also skipped over John Leguizamo, Trevor Noah, and Jimmy Kimmel on the chapter on political comedy.
This book was truly awful. If I could, I would give this book zero stars (I know I could skip stars, but that's not the same thing as a giant zero).
December 3, 2023
This book was so good and I learned so much. Could not put it down! This is like a textbook about comedy but it’s fun.
November 17, 2023
This is less of a history and more of an analysis of comedy as an art form in the past 25+ years. Fox, a Vulture ("Devouring Culture") writer, examines the evolution of comedy news such as The Daily Show; the impact of social media on how comedy is presented and distributed; the delicate issues of timing and political correctness; the complex relationship between performer and audience; and even the question of whether or not comedy has to be funny. Interesting, enlightening and thought-provoking, marred only by Fox's ill-advised attempts to be funny himself (he's not).
December 30, 2023
The author clearly knows his stuff, and his passion for his subject can be quite endearing. What ultimately turned me against the book was that he seems to view all of comedy through a narrow political lens.
Comedians (and in turn, their fans) that don’t fit this lens are frequently treated with condescension, labeled “stinkers” and “bad little boys.” Those who are seen as sufficiently progressive, on the other hand, apparently don’t even have to be funny anymore to “elevate the art form.”
It’s not even that I’m diametrically opposed to the author’s views. My issue is he puts the cart before the horse - comedy must be good when it conforms to certain politics.
Call me a simpleton, but I still prefer it to be funny.
Comedians (and in turn, their fans) that don’t fit this lens are frequently treated with condescension, labeled “stinkers” and “bad little boys.” Those who are seen as sufficiently progressive, on the other hand, apparently don’t even have to be funny anymore to “elevate the art form.”
It’s not even that I’m diametrically opposed to the author’s views. My issue is he puts the cart before the horse - comedy must be good when it conforms to certain politics.
Call me a simpleton, but I still prefer it to be funny.
September 5, 2025
I liked the review of the front of the book, that this is like listening to a close friend talk about something they know a lot about. It taught me a lot academically but also gave me several things to ponder more philosophically. And it’s cool to read about people you love to watch!
January 22, 2025
I couldn’t tell you the last time I read a non-fiction book, but I love inside baseball more than anything, particularly about comedy. I gobble up interview podcasts weekly and love hearing comedians break down their jokes. Good One with Jesse David Fox is one of my favorites, and Jesse’s book hits similar notes as he walks the reader through the elements of comedy with fantastic insights from so many prominent comedians. Is this book funny? Not really. But does this book make me appreciate all the jokes I have laughed at over the years even more? Absolutely!
December 1, 2023
A fascinating read about how comedy has shaped the world we live in, and a compelling argument as to why comedy deserves to be considered, analyzed, and enjoyed as art.
September 28, 2024
This book is not for comedy fans it is for comedy nerds. The level of references and scope of the discourse in this book is deep, and it is necessary to get all of those references, but it is so much more than a reflection on comedy of the last 30 years. This book provided a sociocultural lens and reflection on humanity, connection, humour, love, the pandemic, how the internet and social media have morphed us and our parasocial relationships - and why we need all of that now. I went to this book looking to think about comedy, funniness, and humour. I got all of that and a much deeper look at what connects us all. It took me a long time to read this book because it forced me to think, reflect, watch something silly, be moved, and then keep reading.
April 18, 2024
What I wanted: …what the title promises. What makes comedy work, impact on culture, etc.
What I got: narrowly focused political diatribe that mislabels some comedians, cherry-picks lines from others, and becomes focused on the authors opinions rather than comedy itself.
I have no real political affiliation and I agree with what some of the author said…but man, this was like a 300 page opinion piece disguised as a “comedy book.” Wouldn’t recommend.
What I got: narrowly focused political diatribe that mislabels some comedians, cherry-picks lines from others, and becomes focused on the authors opinions rather than comedy itself.
I have no real political affiliation and I agree with what some of the author said…but man, this was like a 300 page opinion piece disguised as a “comedy book.” Wouldn’t recommend.
May 16, 2024
Yes, to answer your question: I am funny now
did-not-finish
December 12, 2023Read two chapters (around 50 pages). I love the premise of this as someone who appreciates stand-up but doesn't totally buy into it/watch it often. I expected this to be more of an in-depth analysis of the craft, which it claims to be, but Jesse David Fox's criticism thus far has been loose summaries of how comedy developed from the 1830s to today with just enough detail to amuse yet not enough to learn from. Totally understand why others seem to love it though. It's smoothly written with a slight sense of humor and moves quickly without necessarily skimming. But it verges too much on the skimming for me.
November 7, 2023
Thanks to NetGalley and FSG for the ARC of this title.
Comedy is hard. Writing a book about comedy seems even harder, but Jesse David Fox is definitely the person I'd trust to do it, having followed his coverage of the space on Vulture for years. The book aims high, and I think nails what it attempts to do, covering the different ways comedy has risen to its current peak in culture, adapted to the internet, and how it _works_, in general. It's a well-written read, and I didn't even notice places where I've read bits and pieces of this in Fox's columns before. Nicely done!
Comedy is hard. Writing a book about comedy seems even harder, but Jesse David Fox is definitely the person I'd trust to do it, having followed his coverage of the space on Vulture for years. The book aims high, and I think nails what it attempts to do, covering the different ways comedy has risen to its current peak in culture, adapted to the internet, and how it _works_, in general. It's a well-written read, and I didn't even notice places where I've read bits and pieces of this in Fox's columns before. Nicely done!
January 17, 2024
I loved this book so so so much. Jesse’s criticism is so thoughtful and perceptive and well-written. There were things that he said in this book that were so perfect that after I read them, I could feel puzzle pieces in my brain falling into place. Comedy is so intrinsically linked to the human experience that at times this almost felt like a self-help book, in the best way. Truly truly great, anyone who likes comedy should read this.
February 27, 2024
I am not a fan of nonfiction, but I couldn’t put this book down and found myself reading its chapters deep into the night, way past my bedtime, just as I did with Twilight when I was a pre-teen first discovering my love of reading. I must also add: I’ve been unable to start a new book because my brain is still yearning for Fox’s wonderful and precise perspective.
Effortlessly funny and addictively insightful, “Comedy Book” provides a robust history of comedy and anecdotes from comics that is so enjoyable and fun to consume, I stopped watching comedy specials and shows to read this book instead.
As a comedy fan, my favorite comics frequently and consistently let me down. Sometimes a little. Sometimes a lot. Sometimes so much I’m ashamed to admit I ever enjoyed them in the first place.
Fox does a fabulous job of piecing together the good and the bad of comedy’s canceled icons, and relating why the bad is even worse because of the good they did. I feel like Fox grabbed all the jumbled, contradicting thoughts me and my friends have moaned and echoed on about— without a clear conclusion or perspective— and artfully organized and elaborated on them, creating a wonderfully succinct response that hits every note.
Fox is an incredibly talented writer— he artfully blends his own personal experiences alongside entertainment history and his interactions with A-List comics in way that is the opposite of self-indulgent. I find a lot of writing to be obnoxious and self-indulgent. I think this review is obnoxious and self indulgent, but my friends told me to be more active on GoodReads so whatever. I loved when Fox was generous enough to share his own stories- most of them made me laugh, but one of them made me cry.
You will feel like Fox is a friend by the end of this book, and other narrators will feel cold and unwelcoming in comparison. I found myself disappointed by the time restrictions of the book; every new development that happens in comedy I find myself thinking: What would Jesse David Fox have to say?
Effortlessly funny and addictively insightful, “Comedy Book” provides a robust history of comedy and anecdotes from comics that is so enjoyable and fun to consume, I stopped watching comedy specials and shows to read this book instead.
As a comedy fan, my favorite comics frequently and consistently let me down. Sometimes a little. Sometimes a lot. Sometimes so much I’m ashamed to admit I ever enjoyed them in the first place.
Fox does a fabulous job of piecing together the good and the bad of comedy’s canceled icons, and relating why the bad is even worse because of the good they did. I feel like Fox grabbed all the jumbled, contradicting thoughts me and my friends have moaned and echoed on about— without a clear conclusion or perspective— and artfully organized and elaborated on them, creating a wonderfully succinct response that hits every note.
Fox is an incredibly talented writer— he artfully blends his own personal experiences alongside entertainment history and his interactions with A-List comics in way that is the opposite of self-indulgent. I find a lot of writing to be obnoxious and self-indulgent. I think this review is obnoxious and self indulgent, but my friends told me to be more active on GoodReads so whatever. I loved when Fox was generous enough to share his own stories- most of them made me laugh, but one of them made me cry.
You will feel like Fox is a friend by the end of this book, and other narrators will feel cold and unwelcoming in comparison. I found myself disappointed by the time restrictions of the book; every new development that happens in comedy I find myself thinking: What would Jesse David Fox have to say?
December 30, 2025
As a casual fan of comedy—I attend a few shows a year in person, watch a few specials, consume too much short-form video content—this book was a super enjoyable way to deepen my understanding of this art form that has risen in popularity particularly recently.
It was super relevant and of the moment: I recognized maybe 75% of the references, which was great, and I pulled up YouTube throughout the reading as different shows or performers were mentioned that I didn’t know or wanted to be reminded of. It took on all the topics I might have hoped it would: political comedy, political correctness, racism, what makes things funny, and more. And it is well-organized and accessible, with perhaps 10% of the takes over my head, which seems like a good amount as I am no expert in comedy.
I gave this 5 stars because I thoroughly enjoyed the experience of reading it, it changed my perspective on something I consider myself a fan of, and it provided tidbits that I’ve used in conversation with loved ones. Is it perfect? I have no idea. Did I find it a great use of my time? Sure did!
It was super relevant and of the moment: I recognized maybe 75% of the references, which was great, and I pulled up YouTube throughout the reading as different shows or performers were mentioned that I didn’t know or wanted to be reminded of. It took on all the topics I might have hoped it would: political comedy, political correctness, racism, what makes things funny, and more. And it is well-organized and accessible, with perhaps 10% of the takes over my head, which seems like a good amount as I am no expert in comedy.
I gave this 5 stars because I thoroughly enjoyed the experience of reading it, it changed my perspective on something I consider myself a fan of, and it provided tidbits that I’ve used in conversation with loved ones. Is it perfect? I have no idea. Did I find it a great use of my time? Sure did!
October 13, 2023
Comedy Book will be released November 7, 2023. Farrar, Straus and Giroux provided an early galley for review.
Fox approaches the subject of comedy by its various aspects: audience, funny, timing, truth, context, and more. Per the first chapter, the lens used to analyze these things is specifically the comedy made from 1990 through the early 2020's (the last three decades). This approach is important as the world has changed so much in that time, and the comedy art form has had to adapt to those changes as well. It also shines a light on how the millennials and GenZ consume comedy (something this GenX-er has been doing for most of his life).
I appreciated how much this book made me think about comedy - the how and why it affects me in the way that it does. Many of the examples cited I was either very familiar with or would be able to locate easily enough. Comedy fans will definitely appreciate Fox's discussions.
Fox approaches the subject of comedy by its various aspects: audience, funny, timing, truth, context, and more. Per the first chapter, the lens used to analyze these things is specifically the comedy made from 1990 through the early 2020's (the last three decades). This approach is important as the world has changed so much in that time, and the comedy art form has had to adapt to those changes as well. It also shines a light on how the millennials and GenZ consume comedy (something this GenX-er has been doing for most of his life).
I appreciated how much this book made me think about comedy - the how and why it affects me in the way that it does. Many of the examples cited I was either very familiar with or would be able to locate easily enough. Comedy fans will definitely appreciate Fox's discussions.
September 8, 2025
Analyzing comedy is a tricky business, and Jesse often gets too into the weeds on his podcast which can demystify the allure of innate, unexplainable comedy timing. However, this book is thoughtful in all the right ways. It primarily focuses on the comedy scene within the past decade, and how comedy can be a force for good, whether it be progressive or downright absurd. Jesse also explains the fluid nature of comedy, and how much of it is in the eye of the beholder.
MS: Jesse talks about the pandering paradox, and how it can be difficult to navigate gatekeeping/irony to appeal to the in-crowd and alienate those who don’t get it. Basically, how obvious can you make the joke without making it obvious?
MS: Jesse talks about the pandering paradox, and how it can be difficult to navigate gatekeeping/irony to appeal to the in-crowd and alienate those who don’t get it. Basically, how obvious can you make the joke without making it obvious?
January 5, 2024
The ultimate piece of validation for how young comedy performers and fans feel about this new world of comedy! So incredibly insightful, thorough, inspiring and compelling. Jesse David Fox has a passion that feels as though it jumps off the pages and is able to articulate the changing landscape of this genre so precisely and intuitively (I’m not just saying this because we have the same last name). I would recommend this to anyone (especially young people) who want to purse comedy in all forms, comedy fans and even people interested in psychology and how it pertains to humor. There is no other piece of media out there breaking down and respecting the art form of comedy quite like this book.
June 10, 2025
Amber listened to a segment on NPR about this book and gifted me a copy, as she knew it’d be right up my alley. She was correct!
Focusing on comedy from the 90’s till now, Fox poses important questions regarding the current state of comedy… How we consume it, why we consume it, and the legitimacy of comedy as an art form.
I’d best describe this book as thought provoking. While I didn’t really learn anything new about the world of comedy; Fox does a great job of offering a new lens through which you can view the art form.
Focusing on comedy from the 90’s till now, Fox poses important questions regarding the current state of comedy… How we consume it, why we consume it, and the legitimacy of comedy as an art form.
I’d best describe this book as thought provoking. While I didn’t really learn anything new about the world of comedy; Fox does a great job of offering a new lens through which you can view the art form.
February 4, 2024
I love the author's podcast, "Good One: A Podcast about Jokes" for its mission and format, but also because the author/host seems so genuine and warm and curious. These attributes showed up in this book, along with (sometimes too) heady, intellectual digressions about the purpose and function and construction of comedy. I think Fox makes good arguments, and certainly backs them up. He is also forthright about his own personal stances and biases. I think this book might be less interesting to non-American audiences as it almost exclusively focuses on the American comedy scene.
Want to read
December 1, 2023
January 4, 2024
A fantastic exploration of the art of comedy and the role it plays in our culture today. Well written too. Brilliant job to explaining and opening serious discussion in a human trait that is old as communication itself
March 11, 2024
A thoughtfully researched and written deep-dive into the history of comedy. This book covers the early days of performance-based comedy and winds it's way through the decades to today. I'm biased, but I loved seeing so many of my favorite comedians mentioned in these pages.
March 27, 2024
Me, a person who wrote their undergrad thesis on women in comedy, absolutely did not want this book to end!! I felt like that meme of Leo pointing at the TV when ANY comedian I love or podcast I fervently listen to was mentioned—Las Culturistas! StraightioLab! Comedy Bang Bang! 30 Rock! Kate Berlant, John Early, Jo Firestone, Jaboukie Young-White, I Think You Should Leave, etc!!
Sometimes I forget how formative and just…precious comedy is to me, and how my consumption of it has helped me grow up and get by. It’s art. I need it (we all need it!) and I love it SO deeply.
Sometimes I forget how formative and just…precious comedy is to me, and how my consumption of it has helped me grow up and get by. It’s art. I need it (we all need it!) and I love it SO deeply.
February 6, 2024
A brilliant, well structured essay collection on comedy, with a mix of personal storytelling. A must read if you love comedy.
June 2, 2024
Brilliant analysis on standup comedy and its rise in the last few years. Must read.
Read
July 29, 2024This might be the best book about comedy I've ever read, and I'm not sure how I feel about that.
April 15, 2025
I took a long time to read this book because each chapter was so full - I needed time to find the referenced clips in YouTube, think about my favorite comedy and ruminate on my own 5-minute set. It even inspired me to try out an improv class.
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