In a delightful turn of events, BAFTA-winning comedian, writer, and actress Sophie Willan has been announced as the new host of The Great British Sewing Bee. Known for her razor-sharp wit and endearing charm, Willan steps into the spotlight to guide Britain’s best amateur stitchers through challenges of creativity, craftsmanship, and couture chaos.

The BBC's long-running competition series has become a staple of feel-good television, offering viewers a comforting blend of fashion, heartwarming stories, and friendly competition. Now in its latest chapter, the addition of Willan marks an exciting evolution for the show — bringing a fresh voice and a spark of humor that’s bound to sew even more joy into the fabric of the series.

A Natural Fit for a National Favourite

Sophie Willan might be best known for her hit comedy-drama Alma's Not Normal, which won critical acclaim for its bold storytelling and heartfelt humour, but she’s no stranger to connecting with everyday people. Her down-to-earth Northern roots and authentic storytelling make her a natural fit for a show that celebrates creativity and community.

While she may not have a background in sewing (yet!), Willan’s quirky charisma and ability to put people at ease promises to bring a warm, inclusive energy to the sewing room. Think less “fashion runway elite” and more “your hilarious best friend cheering you on while you hem a sleeve.”

Passing the Thread

Willan follows in the footsteps of fellow comedians Joe Lycett and Sara Pascoe, who each brought their own unique flair to the presenter’s role. Fans of the show have come to appreciate the delicate balance of comedy and compassion that a good host brings — and with Sophie at the helm, that legacy looks set to continue.

In her own words about the new role, Willan shared:

"I’m absolutely thrilled to be joining such a beloved show. I can’t wait to get into the sewing room and meet this year’s brilliant bunch of contestants. I may not be able to thread a needle myself, but I’ll be bringing plenty of enthusiasm, encouragement, and maybe a few laughs!"

What to Expect This Season

With Sophie Willan leading the way, this season promises a vibrant mix of signature challenges, stunning transformations, and of course, the all-important made-to-measure rounds. The judging panel remains in place, with Patrick Grant and Esme Young returning to offer their seasoned critiques — expect the usual mix of raised eyebrows, heartfelt praise, and the occasional savage quip.

As always, the show will spotlight the personal stories of its contestants, many of whom sew not just for style, but for identity, healing, and expression. It’s this heartfelt storytelling — now paired with Willan’s empathetic humour — that keeps viewers coming back season after season.

Stitching Together Old and New

At its core, The Great British Sewing Bee is a celebration of craftsmanship, individuality, and the joy of making something by hand. In a world where fast fashion dominates, the show continues to champion slow, sustainable, and soulful creativity.

With Sophie Willan stepping in as host, the series looks poised to continue its tradition of warmth and wit — with just a little extra sparkle (and maybe some sequins).

So dust off your bobbins and get ready: this season of The Great British Sewing Bee is going to be stitched with laughter, layered with talent, and hemmed with heart.

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Are you excited about Sophie Willan joining Sewing Bee? Let us know your thoughts in the comments — and don’t forget to tune in when the new season premieres! 🧵✂️

In a world increasingly dominated by absurd headlines, one phrase stood out recently like a werewolf in a philosophy lecture: "Stewart Lee vs The Man-Wulf." No, it's not the name of a lost Hammer Horror film, nor a secret Glastonbury late-night set. It's something far more terrifying—and far more British.

Let’s break it down.

Who is Stewart Lee?

For the uninitiated, Stewart Lee is one of the UK’s most cerebral and self-aware stand-up comedians. He is equal parts performance artist, satirist, and reluctant celebrity. His sets are known for deconstructing the mechanics of comedy, mocking audience expectations, and eviscerating modern political discourse with the weary sarcasm of a man who has read too many Guardian op-eds.

To put it another way: if Stewart Lee were a Dungeons & Dragons character, he’d be a Level 12 Irony Mage with high INT and low patience for hecklers.

And the Man-Wulf?

Ah, yes. The Man-Wulf. Not quite man, not quite wolf, and possibly a tax-dodging landlord from the Home Counties. Reports are murky.

The Man-Wulf appears to be a grotesque hybrid of tabloid outrage, neoliberal policy, and unwashed masculinity. He prowls after dark, preaching the gospel of “common sense” politics while growling about “woke culture” and cancelations that never really happened. Picture Jacob Rees-Mogg if he were bitten by Jeremy Clarkson under a full moon.

The Man-Wulf has no real ideology—only vibes, mostly bad ones.

The Battle

“Stewart Lee vs The Man-Wulf” isn't so much a physical confrontation as it is a cultural one. Imagine Lee stepping onto a fog-shrouded stage in an abandoned working men’s club, dressed in an Oxfam suit, armed only with a microphone and a deep disdain for Nigel Farage. Across from him, emerging from the shadows, is The Man-Wulf—clad in a leather jacket, holding a pint of Stella, barking on about how “you can’t say anything anymore.”

The crowd is split. Some came for punchlines. Others came for blood.

Lee circles his opponent slowly, beginning with a slow, looping monologue about the nature of populism as performance. He weaponises irony. He mocks the mockery. He even critiques his own critique in a dazzling rhetorical backflip that leaves half the audience confused and the other half in tears of laughter.

The Man-Wulf responds by howling about “the silent majority” and misquoting Orwell.

The Subtext

Of course, “Stewart Lee vs The Man-Wulf” is not a literal battle—though one could argue it's as epic as any Greek myth, only with more references to Brexit and fewer gods with animal heads. It’s the eternal struggle between reasoned critique and reactionary noise; between thought and impulse; between a comedian who knows exactly what he’s doing and a creature who has never heard of subtext.

Lee, in many ways, is the anti-Man-Wulf: where the Man-Wulf bellows, Lee muses; where the Wulf appeals to instinct, Lee appeals to intellect (and then undermines it just to make sure you’re paying attention).

The Outcome?

The battle ends not with a knockout but with a shrug. Lee delivers a final deadpan monologue about how this entire spectacle is ultimately meaningless—just another theatre of distractions while the planet burns and billionaires colonise the moon.

The Man-Wulf growls something about immigrants and lumbers off into the mist, ready to guest host GB News.

Final Thoughts

“Stewart Lee vs The Man-Wulf” is more than a headline—it’s a symbol of where we are now. Comedy vs outrage. Nuance vs noise. Thought vs teeth.

And as the curtain falls, the audience—half laughing, half howling—can’t decide if they've just witnessed a stand-up set, a political allegory, or the weirdest episode of Doctor Who never made.

Whatever it was, it was very Stewart Lee.

Sketch comedy has long lived in cycles—periods of innovation followed by imitation. From the golden days of Monty Python’s Flying Circus to the cultural dominance of Key & Peele, every era has its signature style and tone. Enter Mitchell and Webb Are Not Helping, the surprise resurgence from British comedy duo David Mitchell and Robert Webb. But this isn’t just a nostalgic cash-in or a greatest hits tour. It’s something sharper, stranger, and more self-aware—a reset button for sketch comedy as we know it.

The Return of Razor-Wit

For fans of That Mitchell and Webb Look, which wrapped over a decade ago, the return of the duo was always a hope more than an expectation. While both actors have been busy with solo projects—Mitchell’s sardonic panel show appearances and Webb’s acting ventures—their combined comedic chemistry has always been the magic formula.

Mitchell and Webb Are Not Helping is a spiritual successor in some ways, but it refuses to sit comfortably in its own legacy. The sketches are tighter, the satire more biting, and the meta-humor more complex. There’s a sense that they’re not just reviving sketch comedy—they’re interrogating it.

A Comedy of Crisis

The title itself, Are Not Helping, is doing a lot of work. These aren’t just sketches about silly characters or awkward social situations; they're about futility, helplessness, and the absurdity of trying to "make sense" of the world through comedy. Whether they’re portraying bumbling bureaucrats trying to solve climate collapse with PowerPoints, or a parody of true crime documentaries that forget who the victim was, there’s an existential edge to the laughs.

The show isn’t nihilistic, but it is deeply aware of the limitations of comedy in the face of modern absurdity. It's sketch comedy as a form of cultural commentary—not just laughing at the world, but questioning whether laughter is even an appropriate response.

Not Your Standard Sketch Structure

Gone are the rigid “setup, punchline, blackout” formulas. Instead, sketches spiral, loop, unravel. Some scenes blur into others. Characters occasionally break the fourth wall—not just to wink at the audience, but to ask, “Are we part of the problem?” It’s risky, and at times almost uncomfortable. But that’s what makes it work.

This isn’t comedy that begs for viral clips or catchphrases. It’s not chasing the TikTok algorithm. It’s sketch comedy as theatre, as critique, as uneasy mirror.

An Era Reborn

What makes Mitchell and Webb Are Not Helping feel like a watershed moment is how confidently it rejects the safer formulas. In an era when many sketch shows aim for quick social media traction or lean on safe satire, Mitchell and Webb are doing something braver. They’re trusting the audience to be smart, patient, and a little uncomfortable.

And that’s exactly what sketch comedy needs right now.

The Takeaway

Sketch comedy has always been a reflection of the times, and Mitchell and Webb Are Not Helping holds up a darkly funny, painfully accurate mirror. It’s not just another return—it’s a reinvention. In its refusal to offer easy answers or even clear heroes, the show pushes the genre into new, exhilarating territory.

If sketch comedy is entering a new era, Mitchell and Webb are not just part of it—they’re leading it.

Get ready to laugh, London — George Lewis is coming to town.

The charmingly sharp-witted comedian, best known for his clever storytelling and self-deprecating Northern charm, is bringing his latest stand-up show to the capital next week, and the buzz is already building. Whether you’ve seen him on Mock the Week, caught his viral stand-up clips online, or listened to his podcast appearances, you’ll know George Lewis is a comic who knows how to work a room — and leave it in stitches.

Fresh off a successful run at the Edinburgh Fringe, Lewis’s new show, titled "Just the One", is equal parts hilarious and heartfelt. Drawing from his experiences as a dad, a husband, and a guy trying to keep it together in a world full of awkward moments, George delivers observational comedy with a warm, relatable twist. It’s the kind of material that sneaks up on you — one minute you’re laughing at a joke about toddler tantrums, and the next you’re nodding in quiet agreement about the strange beauty of everyday life.

This London leg of the tour marks a big moment for Lewis, who has steadily carved out a name for himself as one of the UK’s most likable comics. He won the Amused Moose Laugh Off and was a finalist in the BBC New Comedy Award — and since then, he’s appeared on everything from Sky One’s Romesh Presents to hosting segments for The One Show.

But it’s live on stage where George really shines. His delivery is effortlessly natural, his stories often so funny because they feel like ones you’ve lived through yourself — just told better, and with a killer punchline. Audiences across the country have praised the show’s mix of wit, warmth, and unexpected honesty.

Tickets are already selling fast, especially for the first few nights in Soho. Whether you're a long-time fan or just in need of a guaranteed good night out, this is one to get in the diary.

George Lewis’s London run kicks off next week, with performances at venues across the city including Soho Theatre and The Bill Murray.

Prepare to laugh. Possibly cry. Definitely relate.

A Star Is Sharpened
By Eligh Gold, August 22, 2025

There’s a certain kind of magic that happens when a new comedian walks onto a stage, disarms an audience with an unexpected turn of phrase, and lands a punchline so precisely timed that it feels like a revelation. That magic was in full force this year when Madeleine Brettingham was crowned the winner of ‘So You Think You’re Funny?’, the UK’s most prestigious competition for emerging stand-up talent.

Her victory wasn’t just a win — it was a moment.

The Competition That Launched Legends

Since its inception in 1988, So You Think You’re Funny? has been the gateway for some of the UK’s most celebrated comedic voices. Past winners and finalists include the likes of Peter Kay, Lee Mack, Sarah Millican, Aisling Bea, and Maisie Adam — and now, Madeleine Brettingham joins that impressive lineage.

Held annually during the Edinburgh Festival Fringe, the competition is known not only for spotlighting fresh talent but also for identifying comedians with a clear, original voice. And Brettingham’s voice couldn’t have been clearer — or funnier.

Who Is Madeleine Brettingham?

A name that might be new to casual comedy fans, Brettingham has already been building quiet momentum in the circuit. With a background in writing and a brain that clearly processes the absurdity of everyday life through a razor-sharp lens, her comedy is marked by intelligence, timing, and just the right dash of joyful weirdness.

In her winning set, she delivered tightly crafted jokes about millennial anxiety, misguided self-help trends, and the delicate politics of group chats — all with an onstage presence that felt both unassuming and confidently in control. She doesn’t shout to be heard; she leans in and makes you lean with her.

Her writing style is deft and unhurried, allowing the punchlines to breathe — and then land with unexpected force. One reviewer described her as “what might happen if Victoria Wood rewired her brain with a Twitter feed and an anthropology degree.” It’s a fitting image.

Why This Win Matters

At a time when the comedy world is being pulled in all directions — from slick Netflix specials to TikTok snippets, podcast rants to AI-generated jokes — a win at So You Think You’re Funny? still holds a certain purity. It’s one comedian, a mic, and five minutes to convince a roomful of strangers they’re worth watching. No gimmicks. No edits. Just craft.

Brettingham’s win is a reminder that wit still wins — that well-constructed material, performed with authenticity and heart, can still stop people in their tracks. It also suggests that the next wave of British comedy isn’t just funny — it’s smart, subversive, and refreshingly grounded.

What’s Next for Brettingham?

Winning SYTYF opens doors. Past winners have gone on to land BBC Radio shows, panel appearances, full-hour Fringe runs, and national tours. With her unmistakable voice and a knack for tight storytelling, it wouldn’t be surprising to see Brettingham making moves into writing rooms, pilot pitches, and podcast charts very soon.

But for now, she’s right where she should be: standing on a stage, mic in hand, laughing with (and at) the world, and enjoying the moment she’s absolutely earned.

Madeleine Brettingham may have just stepped into the spotlight, but if her performance at So You Think You’re Funny? is anything to go by, she won’t be stepping out of it any time soon.