But the most striking thing about Roseanne is how hugely it jars with our new (or at least resurrected) dominant image of the working class. When it first appeared, it was greeted as a simple novelty, a window on to lives that were seen almost nowhere on TV, unless neutralised by being in yellow, cartoon form. Now, against a backdrop that sees political rhetoric and various media collaborating to demonise the working poor, its scabrous, loving portrait of a normal, sarky, stressed, happy, hard-working, cash-strapped family looks like a radical counter-narrative. Funny, that. Well, I mean, you’ve got to laugh.