Having recently published an overview of film, television, and radio comedy (Mundy and White 2012), I am curious how relatively seldom work appears in the foreground of comedy texts. Comedy is drawn to controversial areas and ideological fractures in the social structure with issues of taste, class, gender, race, and sexuality consistently appropriating the focus. Work is the background, the
... [Show full abstract] normal and quotidian against which the comic can emerge. Certainly, there is humor to be found in work activities and environments, but work itself is so monolithic in our lives that our fondest wish is often to escape it and its domination of our time. Comedy reflects this by preferring to associate itself with either the opposite of work (the holiday, the circus or carnival, the seaside) or time out from the busy working day (home, relationships, the things we do to distract ourselves from the fact that our lives are governed by work).