REFLECTIONS AND THOUGHTS
The "funny is funny" fallacy (01/01/2025)
In the comedy circuit, the "funny is funny" philosophy can at times represent a reflection of capitalist ideology, emphasising universal market appeal and prioritising audience satisfaction over critical or subversive content. Comedians adhering to this philosophy may unconsciously uphold system justification, which favours preserving the status quo. From this perspective, humour is treated as a commodity: its value is measured by its ability to generate laughs, sell tickets, and attract viewers, aligning with capitalist principles of profitability and mass appeal.
When anti-capitalist comedians enter this space, they challenge not only societal norms but also the commodification of comedy itself. These comedians often use their platform to critique systemic inequities, question power dynamics, and subvert mainstream expectations of humour. However, their approach can provoke hostility within the comedy circuit, particularly among those who have internalised capitalist values and view dissent as a threat to their industry or personal success.
This hostility can be understood through the lens of system justification theory, where comedians who align with the "funny is funny" ethos perceive anti-capitalist humour as disruptive or even unfunny, not because it lacks comedic merit, but because it challenges their deeply held belief that the current comedic system (and by extension, the capitalist system) is fair and legitimate. The pressure to conform to market demands further reinforces this dynamic, as comedy clubs, streaming platforms, and sponsors often favour material that aligns with broader audience expectations, sidelining or marginalising anti-capitalist voices.
Additionally, false consciousness plays a role in this dynamic. Many comedians may adopt the "funny is funny" mantra not out of genuine philosophical alignment, but because it aligns with the incentives and rewards of a capitalist entertainment industry. They may reject anti-capitalist comedians as a way to distance themselves from perceived risks, fearing that association with subversive material could alienate audiences or jeopardise their careers.
Finally, cultural hegemony ensures that capitalist values dominate the comedy landscape, shaping what is considered funny, acceptable, and marketable. Anti-capitalist comedians threaten this hegemony by introducing perspectives that make audiences uncomfortable or force them to confront systemic injustices. This discomfort often leads to backlash, as both audiences and fellow comedians may resist perspectives that challenge the cultural norms they've been conditioned to accept.
To conclude, the people who sometimes say, "funny is funny" in the comedy circuit can act to mirror capitalist values of market-driven validation and universal appeal, often marginalising anti-capitalist comedians who challenge these norms. This resistance is not merely about comedic taste but reflects deeper psychological and cultural mechanisms designed to defend the status quo and suppress dissent.
To put it another way, the "funny is funny" crowd are not comparable to the likes of Bill Hicks, George Carlin, Sarah Silverman, Maria Bamford, Kate Willett, Hannah Gadsby, and so on, in this world. And that's okay, but nosce te ipsum.
🎤 The People’s Comedy and the Power of AI: Tech for the Many, Not the Few (23/04/2025)
We fully respect that some artists, audiences, and collaborators may choose not to engage with AI tools—and we understand the reasons why. Concerns around data ethics, the displacement of jobs, creative autonomy, and the role of tech companies in society are all completely valid. For many, the rise of AI raises serious questions about consent, ownership, and exploitation—particularly in industries where creative work has long been undervalued. These concerns don’t take away from the arguments we make in favour of using AI at The People’s Comedy—they simply reflect a difference in approach. We believe in solidarity over uniformity, and we’re not here to judge differing views.
At The People’s Comedy, we’re all about building a better comedy scene—one where working-class voices are platformed, comedians are paid fairly, and underrepresented talent is given space to shine. We run against the tide of commercial comedy, which often operates on exploitative models and excludes those without financial or social capital.
That’s why we’re embracing AI image generation—not as a gimmick, but as a practical, political, and economic choice. Here's why.
🧰 Cutting Costs, Not Corners
Hiring freelance graphic designers in the UK, to take one example, typically costs £250–£500 per campaign—a figure far beyond the means of grassroots initiatives like ours. We’re not funded by big sponsors or ticketing giants. Every pound saved on overheads is a pound redirected into paying performers.
Using AI tools allows us to produce quality promotional content at little cost, meaning more of our budget goes straight into comedians’ pockets, where it belongs.
And the need is real: many comedians earn under the personal tax allowance of £12,570 from their craft. The industry doesn’t work for most of us—but we’re building one that does.
⚖️ Keeping Up with the Capitalists
We’re not alone in adopting AI—for marketing/design tasks, AI use is increasing (e.g., HubSpot's 2023 survey says 35% of marketers now use generative AI, and it's rising fast)
Grassroots and working-class projects risk being left behind unless we use the same tools. This isn’t about replacing people with tech—it’s about refusing to be excluded from the digital tools that already dominate culture and commerce.
✊ Technology as a Tool of Liberation
Our politics don’t stop at comedy. The People’s Comedy has long advocated for Universal Basic Income (UBI) as a way to liberate artists and workers from economic precarity.
The RSA has found that a basic income of £10,000 per year could lift many people in the UK out of poverty. We believe AI, when used responsibly, can accelerate the arrival of this world—freeing people from unnecessary labour and giving us all more time to create, organise, and live.
In our hands and view, AI is not a threat—it’s a stepping stone towards post-capitalist creativity.
📢 Class Struggle on the Cultural Front
The creative industries are not the meritocracy they claim to be. A 2019 report by the Creative Industries Policy & Evidence Centre showed that only 16% of workers in the creative industries come from working-class backgrounds, despite working-class people making up around 35% of the UK population.
Marx famously wrote that the ruling class controls not only the means of production, but also the means of mental production. In a capitalist system, culture is commodified, and creative tools are priced out of reach. By using AI to generate visuals and artwork, The People’s Comedy is reclaiming the means of cultural production.
This isn’t about novelty—it’s about necessity. We don’t have the luxury of waiting for better tools to trickle down. We’re taking them now and using them to build a better comedy scene.
🚀 A People’s Future—Powered by Tech, Guided by Solidarity
AI isn’t going away. The question is: who gets to use it, and for what? At The People’s Comedy, we choose to use it in the service of intersectionality, empowerment, cultural inclusion, and economic justice.
We use AI not to replace human creativity, but to enable it. It’s not about cutting out artists—it’s about filling a gap where no resources ever existed. With AI in our toolkit, we’re not only surviving—we’re building a future worth laughing about.
