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It's great to have one woman on a TV panel show, but you need more than that

The head of BBC TV output has promised that there will be no more all-male panels on TV comedy shows. Ed Morrish, radio comedy producer, explains why he always tries to book more than one woman – it makes his show better.

So here’s a thing: “Danny Cohen, head of the BBC's television output, has promised viewers that the corporation will not make any more all-male comedy panel shows.”

If there are any TV producers reading (there aren’t). here’s some recommendations for funny women you could have on your panel shows: Rebecca Front, Danielle Ward, Susan Calman, Shappi Khorsandi, Zoe Lyons, Bridget Christie, Margaret Cabourn-Smith, Josie Long, Jenny Eclair, Roisin Conaty, Sara Pascoe, Sarah Kendall, Kerry Godliman, Isy Suttie, Lucy Beaumont and Angela Barnes. I can recommend them all from personal experience, because they’ve all been guests on a panel show I produce called Dilemma. In addition to those women we’ve had female journalists (Grace Dent, Ann Leslie, Anita Anand, Samira Ahmed, Julia Hartley-Brewer, Anne McElvoy), musicians (Louise Wener, Cerys Mathews), presenters (Fi Glover, Janet Ellis, Cerrie Burnell), actors (Clare Grogan, Cush Jumbo), DJs (Annie Nightingale, Gemma Cairney), and a cricketer (Isa Guha), all of whom were funny and clever and interesting. 

Now, before you elect me King of Feminists*, I should point out that we’ve had more male guests than female – 40/36 is the split over three series and an Edinburgh special, although if you add the presenter Sue Perkins into that, it shifts to 40/55. 

Personally, I always thought the point of panel shows is to generate spontaneous discussion. I produced The News Quiz for two years (where, it’s fair to say, I achieved nothing like the figures above) and it struck me then that in terms of “jokes about the news”, there were only so many actual gags to be done – the value of the show was when Andy said something, Sandi queried it, Jeremy came back with something else, Sue took it further and Fred topped it. That’s what you can’t do at home – it’s four different minds working together in ways that can’t be predicted.

So when we started making Dilemma, a show where moral and/or ethical dilemmas are played for laughs – the idea of a diverse panel was central to the show working. If all four guests are the same age/ethnicity/gender/occupation, their moral choices are more likely to be similar, surely? Because morality and ethics are informed by our background and experiences. If you put a moral dilemma in front of four male comics in their 30s, you’re more likely to get an agreement than if you put in front of (say), one male English comic in his 30s, a female Australian comic in her 30s, a DJ in her 70s and a cricketer in her 20s**. And it’s that disagreement that make the show worth listening to.

We’re lucky of course to have a comedy format that bears non-comics. If the question is right – as, for example, in last week's show – then almost any answer can be funny; the comedy comes from thinking it through, and ending up somewhere unexpected. Some formats however seem to be more designed as a one-liner delivery system. That’s not a value judgement, these shows can be very popular and very funny, but if you’re just going for punchlines then you’ve limited yourself to a particular sort of comedian. And let’s not forget that broadcast comedy is not representative of the population of a whole, it’s representative of comedians, the people who chose to go into comedy. There are more men doing comedy than women so you’d expect there to be more good men than good women (although proportionally they’d be the same I imagine). There are also way more white people doing stand-up than non-white. As more women/ethnic minorities start doing comedy, the broadcast numbers will even up; but Chris Rock says it takes ten years to get good as a stand-up, and there wasn’t an even split ten years ago. (You could argue that more women would go into comedy if they saw women doing good comedy, and I think you’d be right.) And then there’s the fame issue – people are more likely to tune into a show where they’ve heard of the guests then where they’ve not, so producers book people you’ve heard of. You’ve heard of more male comedians than female comedians, so that’s who they book. It’s not particularly fair, but I can understand the impulse on the part of the producer.  

The last thing to bear in mind on this point is that one woman on a panel show can be quite isolated; she can be seen as “the woman”, a representative of ALL women. So we try to have two on each show as that immediately puts an adjective in front of each one. The young woman and the middle-aged woman; the Southern woman and the Northern woman. It’s harder to generalise when youve got two different people on. (We have on three occasions only had one woman as a guest, but a) we have a woman presenting the show so they’d never be the only female voice on the episode and b) we had one episode where there were three women guests, so that cancels one of those out.) Basically, I book two comics (one male, one female) and two non-comics (one male and one female) and try to get a variety of backgrounds from within that formation. And all for the selfish reason that it makes my show better.

The dilemmas for Dilemma are devised, by the way, through a series of brainstorms, which the show’s devisor Danielle Ward then takes away and writes up. We try to get a mix of people involved in these, because if white, black, gay, straight, male and female people in a room can agree that something really is a dilemma, then it will work on the show no matter who we book. A room full of only people like me might create dilemmas that only people like me think are dilemmas, and that’s not just a problem for anyone on the panel who’s not like me, but also for anyone in the audience who’s not like me. Our audience is about a million people. As sexy a thought a million versions of me might be, we have to accept it’s not likely, and some of the audience might be different. So rather than have 999,999 people shout “HOW IS THAT A PROBLEM?” while I nod sagely, I invite a few women to the brainstorm. I say a few; we had more women than men involved in this series. The guinea pig question I linked to above? Sue Elliot-Nicholls came up with that.

Anyway, to any TV producers reading (none of you), get in touch if you want the contact details of any of those women. They’re all really good.

This post first appeared on Ed's blog at and is crossposted with his permission. Dilemma is on Radio 4 at 6.30pm on Tuesdays.


*Also, you don’t elect Kings.

**Series two, episode six


Screenshot of Black Mirror's Fifteen Million Merits.
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How likely are the plots of each Black Mirror episode to happen?

As the third series is on its way, how realistic is each instalment so far of the techno-dystopian drama? We rate the plausibility of every episode.

What if horses could vote? What if wars were fought using Snapchat? What if eggs were cyber?

Just some of the questions that presumably won’t be answered in the new series of Charlie Brooker’s dystopian anthology series Black Mirror, somewhere between The Twilight Zone with an app and The Thick Of It on acid.

A typical instalment takes an aspect of modern technology, politics, or life in general and pushes it a few steps into the future – but just how plausible has each episode been so far?

Series 1 (2011)

Episode 1: The National Anthem

Premise: A member of the Royal Family is kidnapped and will only be released unharmed if the Prime Minister agrees to have sexual intercourse with a pig on live television.

Instead of predicting the future, Black Mirror’s first episode unwittingly managed to foreshadow an allegation about the past: Charlie Brooker says at the time he was unaware of the story surrounding David Cameron and a pig-based activity that occurred at Oxford university. But there’s absolutely no evidence that the Cameron story is true, and real political kidnappings tend to have rather more prosaic goals. On the other hand, it’s hard to say that something akin to the events portrayed could NEVER happen.

Plausibility rating: 2 out of 5

Episode 2: Fifteen Million Merits

Premise: Sometime in the future, most of the population is forced to earn money by pedalling bikes to generate electricity, while constantly surrounded by unskippable adverts. The only hope of escape is winning an X-Factor-style game show.

In 2012, a Brazilian prison announced an innovative method of combating overcrowding. Prisoners were given the option to spend some of their time on electricity-producing bikes; for every 16 hours they spent on the bike, a day would be knocked off their sentence.

The first step to bicycle-dystopia? Probably not. The amount of electricity a human body can produce through pedalling (or any other way, for that matter) is pretty negligible, especially when you take account of the cost of the food you’d have to eat to have enough energy to pedal all day. Maybe the bike thing is a sort of metaphor. Who can say?

Plausibility rating: 0 out of 5

Episode 3: The Entire History of You

Premise: Everyone has a device implanted in their heads that records everything that happens to them and allows them to replay those recordings at will.

Google Glasses with a built-in camera didn’t work out, because no one wanted to walk around looking like a creepy berk. But the less visibly creepy version is coming; Samsung patented “smart” contact lenses with a built-in camera earlier this year.

And there are already social networks and even specialised apps that are packaging up slices of our online past and yelling them at us regardless of whether we even want them: Four years ago you took this video of a duck! Remember when you became Facebook friends with that guy from your old work who got fired for stealing paper? Look at this photo of the very last time you experienced true happiness!

Plausibility rating: 5 out of 5

Series 2 (2013)

Episode 1: Be Right Back

Premise: A new service is created that enables an artificial “resurrection” of the dead via their social media posts and email. You can even connect it to a robot, which you can then kiss.

Last year, Eugenia Kuyda, an AI entrepreneur, was grieving for her best friend and hit upon the idea of feeding his old text messages into one of her company’s neural network-based chat bots, so that she and others could, in a way, continue to talk to him. Reaction to this was, unsurprisingly, mixed – this very episode was cited by those who were disturbed by the tribute. Even the robot bit might not be that far off, if that bloke who made the creepy Scarlett Johansson android has anything to say about it.

Plausibility rating: 4 out of 5

Episode 2: White Bear

Premise: A combination of mind-wiping technology and an elaborately staged series of fake events are used to punish criminals by repeatedly giving them an experience that will make them feel like their own victims did.

There is some evidence that it could be possible to selectively erase memories using a combination of drugs and other therapies, but would this ever be used as part of a bizarre criminal punishment? Well, this kind of “fit the crime” penalty is not totally unheard of – judges in America have been to known to force slum landlords to live in their own rental properties, for example. But, as presented here, it seems a bit elaborate and expensive to work at any kind of scale.

Plausibility rating: 1 out of 5

Episode 3: The Waldo Moment

Premise: A cartoon bear stands as an MP.

This just couldn’t happen, without major and deeply unlikely changes to UK election law. Possibly the closest literal parallel in the UK was when Hartlepool FC’s mascot H'Angus the Monkey stood for, and was elected, mayor – although the bloke inside, Stuart Drummond, ran under his own name and immediately disassociated himself from the H’Angus brand to become a serious and fairly popular mayor.

There are no other parallels with grotesque politicians who may as well be cartoon characters getting close to high political office. None.

Plausibility rating: 0 out of 5

Christmas special (2015)

Episode: White Christmas

Premise 1: Everyone has a device implanted in their eyes that gives them constant internet access. One application of this is to secretly get live dating/pick-up artistry advice.

As with “The Entire History of You”, there’s nothing particularly unfeasible about the underlying technology here. There’s already an app called Relationup that offers live chat with “relationship advisers” who can help you get through a date; another called Jyst claims to have solved the problem by allowing users to get romantic advice from a community of anonymous users. Or you could, you know, just smile and ask them about themselves.

Plausibility rating: 4 out of 5

Premise 2: Human personalities can be copied into electronic devices. These copies then have their spirits crushed and are forced to become the ultimate personalised version of Siri, running your life to your exact tastes.

The Blue Brain Project research group last year announced they’d modelled a small bit of rat brain as a stepping stone to a full simulation of the human brain, so, we’re getting there.

But even if it is theoretically possible, using an entire human personality to make sure your toast is always the right shade of brown seems like overkill. What about the risk of leaving your life in the hands of a severely traumatised version of yourself? What if that bathwater at “just the right” temperature turns out to be scalding hot because the digital you didn’t crack in quite the right way?

Plausibility rating: 1 out of 5

Premise 3: There’s a real-life equivalent of a social media block: once blocked, you can’t see or hear the person who has blocked you. This can also be used as a criminal punishment and people classed as sex offenders are automatically blocked by everyone.

Again, the technology involved is not outrageous. But even if you have not worried about the direct effect of such a powerful form of social isolation on the mental health of criminals, letting them wander around freely in this state is likely to have fairly unfortunate consequences, sooner or later. It’s almost as if it’s just a powerful image to end a TV drama on, rather than a feasible policy suggestion.

Plausibility rating: 2 out of 5

Series 3 of Black Mirror is out on Friday 21 October on Netflix.