Following his hugely acclaimed TV come-back Comedy Vehicle, Lee finds himself in search of ideas for a new Edinburgh show. On a long walk across London, he endures a coffee shop humiliation involving a loyalty card which suggests itself as a framing device. Later that month, thanks to Jeremy Clarkson's casual slur against Gordon Brown and the appearance of a well-meaning young comedian in an advert, a show is born. Featuring a transcript of the show fully annotated with footnotes, the If You Prefer A Milder Comedian EP confirms Stewart Lee as the most original, daring and brilliant comedian of his generation.

Experience how it feels to be the subject of a blasphemy prosecution! Find out why 'wool' is a funny word! See how jokes work, their inner mechanisms revealed, before your astonished face! In 2001, after over a decade in the business, Stewart Lee quit stand-up, disillusioned and drained, and went off to direct a loss-making musical, Jerry Springer: The Opera. Nine years later, How I Escaped My Certain Fate details his return to live performance, and the journey that took him from an early retirement to his position as the most critically acclaimed stand-up in Britain, the winner of BAFTAs and British Comedy Awards, and the affirmation of being rated the 41st best stand up ever. Here is Stewart Lee's own account of his remarkable comeback, told through transcripts of the three legendary full-length shows that sealed his reputation. Astonishingly frank and detailed in-depth notes reveal the inspiration and inner workings of his act. With unprecedented access to a leading comedian's creative process, this book tells us just what it was like to write these shows, develop the performance and take them on tour. How I Escaped My Certain Fate is everything we have come to expect from Stewart Lee: fiercely intelligent, unsparingly honest and very, very funny.

As a Metropolitan Elitist Snowflake, Stewart Lee was disappointed by the Brexit referendum result of 2016. But he knew how to weaponise his inconvenience. He would treat all his subsequent writing, until we left the EU, as interrelated episodes of a complete work. The cast of characters include Lemming-obsessed Michael Gove, violent tanning-salon entrepreneur Tommy Robinson and Boris Piccaninny Watermelon Bumboys Letterbox Cake Disaster Weightloss Haircut Bullshit Johnson. A dramatic chorus is made up of online commenters and Kremlin bots. And Lee himself would play the defeated, unreliable narrator-hero, whose resolve and tolerance would gradually unravel as the horror show dragged on. Until the 29 March, 2019, when it would all definitely be over Drawing on three years of newspaper columns, a complete transcript of the Content Provider stand-up show, and Lee's caustic footnote commentary, March of the Lemmings is the scathing, riotous record the Brexit era deserves.

Over the last few years, often when David Mitchell has been on holiday, the comedian Stewart Lee has been attempting to understand modern Britain in a weekly newspaper column. Why are there so few right-wing stand-ups? Who was Grant Shapps? What does your Spotify playlist data say about you? Are Jeremy Corbyn and Stewart Lee really the new Christs? And so on. Introduced, annotated and, where necessary, explained by the author, Content Provider is funny, grumpy and provocative.

Following his hugely acclaimed TV come-back Comedy Vehicle, Lee finds himself in search of ideas for a new Edinburgh show. On a long walk across London, he endures a coffee shop humiliation involving a loyalty card which suggests itself as a framing device. Later that month, thanks to Jeremy Clarkson's casual slur against Gordon Brown and the appearance of a well-meaning young comedian in an advert, a show is born. Featuring a transcript of the show fully annotated with footnotes, the If You Prefer A Milder Comedian EP confirms Stewart Lee as the most original, daring and brilliant comedian of his generation.

“The Perfect Fool” charts the progress of a collection of misfits, spread across the wide open spaces of Arizona and the narrow streets of South London, all unwittingly caught up in a quest for the Holy Grail.

The explosion of comedy into our lives in recent years with endless panel shows, stand-up shows and high-priced national stadium tours by the new generation of acts featured therein leads Stewart Lee to ask the question -- what kind of material fulfils the needs of these huge audiences? With annotated transcripts of his award-winning TV series of Comedy Vehicle, TV Comedian is the major new book from the author of How I Escaped My Certain Fate and The 'If You Prefer A Milder Comedian Please Ask For One' E.P.

‘His book is a joy to read, full of homespun wisdom and hilarious asides’ Independent ____________________ Where do comedians come from? Why is it that one person is a funny bloke down the pub while another actually makes a living by standing up in front of an audience telling jokes? And where does all that material come from? Well, young Lee McKillop used to wonder that too. ___________________ Growing up in his parents’ pub, small and wiry in a world of bigger and chunkier specimens, Lee quickly learned that cracking jokes was a way to get attention. After a somewhat random series of jobs, which included being Red Rum’s stableboy and a bingo hall barman, it was as a Great Yarmouth holiday camp entertainer that he had his first crack at telling jokes on stage. It got him some laughs, the sack and a punch in the face.* Now, as Lee Mack, he’s one of our best loved and most successful comedians, both as a live stand-up and on television. In Mack the Life, Lee tells the story of how he got there and gives extraordinary insight into what really makes comics tick. Hilarious and brilliant, it’s the kind of book which reminds you why you learned to read in the first place. *Nearly.

This book was shortlisted for the 2015 BSA Philip Abrams Memorial Prize. Comedy is currently enjoying unprecedented growth within the British culture industries. Defying the recent economic downturn, it has exploded into a booming billion-pound industry both on TV and on the live circuit. Despite this, academia has either ignored comedy or focused solely on analysing comedians or comic texts. This scholarship tends to assume that through analysing an artist’s intentions or techniques, we can somehow understand what is and what isn’t funny. But this poses a fundamental question – funny to whom? How can we definitively discern how audiences react to comedy? Comedy and Distinction shifts the focus to provide the first ever empirical examination of British comedy taste. Drawing on a large-scale survey and in-depth interviews carried out at the Edinburgh Festival Fringe, the book explores what types of comedy people like (and dislike), what their preferences reveal about their sense of humour, how comedy taste lubricates everyday interaction, and how issues of social class, gender, ethnicity and geographical location interact with patterns of comic taste. Friedman asks: Are some types of comedy valued higher than others in British society? Does more ‘legitimate’ comedy taste act as a tangible resource in social life – a form of cultural capital? What role does humour play in policing class boundaries in contemporary Britain? This book will be of interest to students and scholars of sociology, social class, social theory, cultural studies and comedy studies.