Women in comedy have traditionally been pegged as either "pretty"
or "funny." Attractive actresses with good comic timing such as
Katherine Hepburn, Lucille Ball, and Julia Roberts have always
gotten plum roles as the heroines of romantic comedies and
television sitcoms. But fewer women who write and perform their own
comedy have become stars, and, most often, they've been successful
because they were willing to be funny-looking, from Fanny Brice and
Phyllis Diller to Lily Tomlin and Carol Burnett. In this
pretty-versus-funny history, women writer-comedians-no matter what
they look like-have ended up on the other side of "pretty,"
enabling them to make it the topic and butt of the joke, the ideal
that is exposed as funny. Pretty/Funny focuses on Kathy Griffin,
Tina Fey, Sarah Silverman, Margaret Cho, Wanda Sykes, and Ellen
DeGeneres, the groundbreaking women comics who flout the
pretty-versus-funny dynamic by targeting glamour, postfeminist
girliness, the Hollywood A-list, and feminine whiteness with their
wit and biting satire. Linda Mizejewski demonstrates that while
these comics don't all identify as feminists or take politically
correct positions, their work on gender, sexuality, and race has a
political impact. The first major study of women and humor in
twenty years, Pretty/Funny makes a convincing case that women's
comedy has become a prime site for feminism to speak, talk back,
and be contested in the twenty-first century.
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