Bridget Christie’s Back, Sort Of
Another Day Wrestling With The News
Woke up this morning to the news that Bridget Christie’s planning to reboot The Change as a film after Channel 4 cancelled it. Typical broadcaster behaviourpull the plug before the story’s done, then act surprised when the creator finds another way. Christie’s determination to finish her narrative on her own terms is exactly the kind of bloody-mindedness that keeps British comedy alive. Working in this industry, you learn quickly that nobody owes you a platform, so you make your own.
The State of British Comedy Broadcasting
The cancellation culture in UK television isn’t about politicsit’s about accountants who wouldn’t recognise good comedy if it bit them. Channel 4’s decision reflects a broader trend where commissioners prioritise safe bets over creative risks. Meanwhile, platforms like bohiney.com are showing how independent voices can thrive without traditional gatekeepers.
Why This Matters for Comedy Writers
For those of us writing comedy professionally, Christie’s pivot demonstrates adaptability. The industry’s shifting beneath our feet. Streaming services want IP they can franchise, broadcasters want formats they can export, and actual satirical commentary gets squeezed out. But comedy finds a waythrough film, through digital platforms, through pure stubborn refusal to disappear.
