"A lot of panel programmes rely on men topping each other, or sparring with each other, which is not generally a very female thing"
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Wood’s line lands with the offhand precision of someone who spent decades watching British TV reward a particular kind of “clever.” Panel shows, especially in their boom years, often ran on a competitive male rhythm: the conversational equivalent of a pub argument polished into entertainment. “Topping each other” is doing a lot of work here. It names the status game at the heart of the format: one-upmanship as a default setting, jokes treated like points on a scoreboard, interruptions as proof of dominance.
The sly move is Wood’s phrasing: “not generally a very female thing.” She’s careful not to essentialize too hard, but she’s still describing a structural bias that masquerades as taste. When the show’s engine is sparring, you end up selecting for performers who are comfortable being loud, fast, and adversarial - and then you call that comfort “naturally funnier.” It’s less an indictment of women’s comedic capacity than of a stage built like a boxing ring and then billed as a dinner party.
Context matters: Wood came up as a writer-performer who specialized in character, observation, and emotional calibration - comedy that accumulates rather than attacks. Her critique isn’t “women don’t like jokes”; it’s that the industry keeps mistaking aggression for wit, then wonders why the room looks the way it does. Underneath is a producer’s question disguised as a cultural one: if we changed the rules of the game, who would suddenly be “suited” to play?
The sly move is Wood’s phrasing: “not generally a very female thing.” She’s careful not to essentialize too hard, but she’s still describing a structural bias that masquerades as taste. When the show’s engine is sparring, you end up selecting for performers who are comfortable being loud, fast, and adversarial - and then you call that comfort “naturally funnier.” It’s less an indictment of women’s comedic capacity than of a stage built like a boxing ring and then billed as a dinner party.
Context matters: Wood came up as a writer-performer who specialized in character, observation, and emotional calibration - comedy that accumulates rather than attacks. Her critique isn’t “women don’t like jokes”; it’s that the industry keeps mistaking aggression for wit, then wonders why the room looks the way it does. Underneath is a producer’s question disguised as a cultural one: if we changed the rules of the game, who would suddenly be “suited” to play?
Quote Details
| Topic | Equality |
|---|---|
| Source | Help us find the source |
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