In on the Joke Chapter 11 Conclusion: Summary and Analysis

⚠️ Spoiler Warning: This guide contains detailed spoilers for the entire novel. Proceed only if you've finished reading or are comfortable knowing the plot.

Summary (Complete and Chronological)

The chapter opens with a 1970 Bob Hope television special in which Hope plays a man displaced by women’s liberation; seventeen female comedians and comic actresses parody traditionally male roles. The special was written and directed entirely by men, and the women were paid far less than Hope. This anecdote sets the stage for the chapter’s central argument: gender inequality in comedy persists.

In January 1970, the New York Times ran an article titled “The Funny Thing Is That They Are Still Feminine,” surveying young women comedians about dating and appearance. The article concluded with Jerry Lewis’s advice that a female comedian should never be unattractive and should make men want to hug her.

The author then jumps to 2016, when Forbes published its first annual list of highest-earning comedians. Amy Schumer ranked fourth, earning $17 million, and became the first woman ever to appear on the list. She would appear again in 2017 and 2019, remaining the only woman to date.

The chapter traces the cracks in the glass ceiling that allowed a new generation of women to emerge. In 1968, Laugh-In debuted with Jo Anne Worley, Ruth Buzzi, and later Lily Tomlin. In 1972, the Comedy Store opened in Los Angeles; Mitzi Shore ran it and briefly operated a women-only space called the Belly Room. In 1975, Saturday Night Live launched with Jane Curtin, Laraine Newman, and Gilda Radner. Despite these platforms, women faced persistent marginalization; even Amy Schumer in 2018 was offered half the salary Netflix paid Chris Rock and Dave Chappelle.

The author lists many contemporary women comedians still hustling for parity. He contrasts two perspectives: Lily Tomlin, who grew up when women had to play stereotypes, and Rita Rudner, who found that in 1980s clubs, “funny” mattered more than gender. This cultural shift, the author argues, resulted directly from the work of the pioneers profiled in the book—Moms Mabley, Jean Carroll, Phyllis Diller, Totie Fields, Joan Rivers, and others. The chapter closes by urging readers to remember those trailblazers whenever they laugh at today’s female comedians.

Key Events

October 1970: Bob Hope’s NBC special depicts a world dominated by women; seventeen women perform under male producers and writers.
January 1970: New York Times article “The Funny Thing Is That They Are Still Feminine” questions whether women can be both attractive and funny.
1968–1973: Laugh-In provides a platform for female comedians, culminating in Lily Tomlin’s breakout.
1972: The Comedy Store opens; Mitzi Shore later opens the Belly Room for women performers.
1975: Saturday Night Live debuts with three women in the cast; women later become head writers (Tina Fey) but still face a boys’ club atmosphere.
2016–2019: Amy Schumer appears on the Forbes highest-earning comedians list, becoming and remaining the only woman.
2018: Netflix offers Amy Schumer half the salary given to male stars for her comedy special.
Contrasting quotes: Lily Tomlin (born before 1970) describes stereotype constraints; Rita Rudner (starting in 1980) describes a merit-based club scene.

Character Development

This section focuses on the historical figures and their evolving legacy rather than fictional character arcs.

The Pioneers (Moms Mabley, Jean Carroll, Minnie Pearl, Phyllis Diller, Totie Fields, Joan Rivers, etc.): Their persistent work opened paths for later generations. The chapter shows how their early sacrifices—performing despite stereotypes, low pay, and limited platforms—eventually made it possible for women to be judged primarily on talent.
Lily Tomlin and Gilda Radner: Represent the transition from character-based comedy to sketch comedy, gaining mainstream fame on Laugh-In and SNL.
Amy Schumer: Serves as the contemporary benchmark. Her placement on the Forbes list marks a milestone but also highlights how far parity still has to go. The Netflix salary disparity reinforces the ongoing struggle.
Mitzi Shore: As club owner, she created the Comedy Store and briefly provided a women-only stage, acknowledging the need for a protected space. Yet her club remained predominantly male.

Themes, Symbols, or Motifs Evidenced Here

Persistent Inequality: The chapter’s central theme. Despite surface progress (a woman headlining, a list placement), structural inequities in pay, representation, and creative control remain virtually unchanged from 1970 to 2019.
The Glass Ceiling and Its Cracks: The author uses terms like “cracks in the glass ceiling” formed by the pioneers’ “incessant banging and kicking.” These cracks allowed new generations to enter but did not shatter the barrier.
Visibility vs. Equity: The Bob Hope special and the Forbes list both grant visibility to women while the underlying power (writing, directing, producing, high salaries) stays in male hands. The motif of “first and only” (Amy Schumer as the sole woman on the earnings list) underscores tokenism rather than transformation.
Generational Contrast (Lily Tomlin vs. Rita Rudner): The two quotes symbolize the shift from an era of explicit stereotypes to one where talent theoretically matters more. Yet the chapter argues that even in the newer era, women must “hustle like crazy” for basic parity.
Historical Erasure: The author critiques The Marvelous Mrs. Maisel for depicting historical barriers without acknowledging that they still exist in the present.

Why This Chapter Matters

This conclusion synthesizes the book’s entire argument. It moves beyond historical narrative to demonstrate that the struggles documented in earlier chapters are not confined to the past. By juxtaposing a 1970 TV special with 2016 industry data, the author shows that the same dynamics—male-dominated creative control, unequal pay, scrutiny of women’s appearance—persist. The chapter also honors the pioneers by clarifying that without their work, today’s women comedians would have no foothold. It gives readers a call to action: to appreciate not just current female comedians but the long, unfinished road that made their careers possible. For students and fans of comedy history, this chapter provides a critical lens through which to evaluate contemporary representation.

3 Specific Study Questions and Answers

1. Why does the author begin the chapter with the 1970 Bob Hope special, and what does it reveal about gender dynamics in comedy?
The special pretends to celebrate women’s equality while being produced and written entirely by men; the women earned far less than Hope. This anecdote encapsulates the book’s thesis: progress is often performative, and structural inequality remains.

2. How does the Forbes list data support the author’s argument about slow progress?
Amy Schumer was the first woman in sixteen years to appear on the list and remained the only one through 2019. This shows that even when a woman achieves top-tier financial success, she remains an outlier, not a sign of systemic change.

3. What do the contrasting quotes from Lily Tomlin and Rita Rudner illustrate about change in comedy?
Tomlin describes a time when women had to play stereotypes; Rudner recalls a merit-based club scene. The shift shows genuine progress in opportunity and perception. Yet the chapter cautions that even Rudner’s meritocracy is incomplete, as women still face salary gaps and underrepresentation.