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Message: <blockquote data-quote="Mel O&#039;Drama" data-source="post: 253254" data-attributes="member: 23">Victoria Wood’s All Day Breakfast (25th December 1992) <img src="https://ichef.bbci.co.uk/images/ic/1200x675/p090xgbd.jpg" alt="" class="fr-fic fr-dii fr-draggable " style="width: 836px" />I was on the verge of watching a ghostly VHS version on YouTube when I suddenly remembered IMDb mentioning that All Day Breakfast was repeated (unbelievably, for the first time ever) on Christmas Day 2020. A quick peek showed that it was indeed on iPlayer, which meant I could watch in crystal clarity, enhancing my viewing pleasure no end. The This Morning spoof is spot-on. From the Royal Albert Dock backdrop to the awkward phone-ins. Duncan Preston had all of Richard Madeley’s mannerisms down perfectly, even if he could have comfortably stepped up the levels of smug. And Susie Blake made a brilliant Mad Lizzie/Green Goddess type. Of the sketches featuring new characters, one which took a swipe at PC culture and SJWs, with a couple on a blind date in a pub:She blows a whistle and two female police officers barge in and grab him as Nicola produces her ID card:It’s a brief sketch, almost hidden among others, many of which are more memorable. All the same, it feels like a brave statement for a female writer to take, and perhaps Vic gets away with it because she’s said that she doesn’t view herself as a “female” comic/writer. Her gender doesn’t come into it. There are no sacred cows for her, and she’s not about to use her position to feel better about herself at someone else’s expense. She simply writes and performs what’s funny, with no wish to feel stifled by trends.  She’s not at all concerned with being popular in order to say what she wants. The idea of a PC honey trap baiting unsuspecting men with false promises works well because it’s something that at the time would have been seen as an extreme. Again and again Nicola doggedly elicits the reaction she wants. Then once she reluctantly gets it, she overreacts. That's the punchline. That's the joke. When the (female) bartender chastises Nicola for posing as a post-feminist, Nicola sniffs and matter of factly points out that it’s a dirty world. For her, the end - her desired outcome - justifies the means.  If anything it’s more relevant today, and arguably foreshadows 21st Century social media trends where the lines between feminism and misandry can become blurred. Nervous, agreeable Sean is condemned not on his deeds but because the image she's projected onto him proves he is what she wants him to be:  a toxic male. No more and no less. He is the one dehumanised and objectified, and punished for meeting her expectations.Nicola's behaviour is extreme, anti-social and unacceptable.  And here it is recognised as such. The audience get it and they applaud the outrageousness. The end result is both very funny and brutally honest, two things Vic does best.If I remember correctly, Vic took aim at political correctness a little more throughout the Nineties, and I'm looking forward to seeing how other examples hold up. (continued)</blockquote>

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