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11th December 2023 | TEL310 Realisation | Dissertation | 6986 words
The key historical and socio-cultural differences in humour and comedic sensibilities between British and American television and how these distinctions impact the adaptation of British shows for US audiences.
Introduction
Television comedy has been an essential staple in modern entertainment since its early inception, captivating audiences with its humorous portrayals of everyday life and societal dynamics. The United Kingdom (UK) and United States (US) are two of the world’s biggest producers of television comedy, each with their own unique comedic traditions. Following research into these traditions, this dissertation will argue that the key differences between British and American comedy heavily influences the potential success of adaptations crafted. The focus of this study will be on situational comedy (‘sitcom’), as according to Mundy and White (2012), the whole comedy genre is far too extensive.
The relationship between American and British television has led to the mutual influence of formats and genres with both countries consistently contributing to each other's television landscapes, fostering a dynamic transatlantic creative partnership that continues to shape the global entertainment industry (Hilmes et al. 2019). However, despite sharing a common language, the comedic traditions of these two nations showcase an array of contrasting features, ranging from distinct comedic sensibilities, cultural references, and unique approaches to satire and character development.
The first chapter of this dissertation will look at the most significant differences in comedy styles between Britain and America. Investigating these distinct characteristics can provide valuable insight into the historical, cultural and social contexts of each nation. Additionally, each country has different approaches to topics like family dynamics, politics, and social class, which can affect how these programmes are written and then adapted for a foreign audience.
The second chapter will examine the global trade in television, looking at programme structure and how these programmes can now be obtained by companies from other countries, through cross-border broadcasting as well as new adaptations.
The third chapter will compare specific British television programmes that have been recreated for America. The programmes selected are The Office, a mockumentary-style sitcom initially aired by the BBC in 2001, the BBC’s This Country (2017-2020), and its American duplicate, Welcome to Flatch (Fox, (2022 - present), and lastly, Coupling, which although was not a remake, critics claimed the programme to be a ‘British version’ of Friends (Anderton 2020).
The research method chosen is textual analysis, which allows for a thorough exploration of underlying themes, subtleties and implicit meanings embedded in a particular work. Employing textual analysis aims to collect information about the practices of creating meaning, not only in diverse cultures but also within our own societies (McKee 2003). I found this method valuable when conducting my research; not only does it provide insight into previous academic studies done on this topic, but also offers practitioners’ opinions and perspectives on distinct subjects and theories which I can then use to further my research and justify my statements and findings. Cultural media scholars often use textual analysis to go beyond the limits of traditional number-based content analysis. This method helps them uncover hidden meanings, patterns, assumptions, and things that are not directly stated in a text (Fürsich, 2009). Additionally, by dissecting linguistic and stylistic elements of a text, I can explore and uncover details and differences between power and language dynamics. For example, I chose to look into existing academic texts on the subject of social class, as I was particularly interested in these authors’ views on the class system in Britain, and whether this is something that has evolved or remained static over time.
Chapter One: Social Class and Regionalism
1a. Why the British laugh at failure
The cultural divide between British and American humour is an intriguing aspect of this transatlantic relationship. British comedy often delves into life's absurdities, finding humour in darker or mundane situations, whereas, American humour, while not lacking depth, leans toward optimism, focusing on positive resolutions and providing escapism from daily challenges. This cultural contrast showcases British comedy's subtleties in critiquing societal norms against American comedy's celebration of resilience and joy.
From my research, I found that British sitcom characters are often quite pessimistic and use humour that belittles or undervalues themselves, whereas American sitcom characters often display a more confident and optimistic outlook, utilising humour that intentionally brings attention to their individual quirks and strengths (Blevins 2016). This stark contrast in comedic approaches reflects the cultural disparities between British and American societies, showcasing their distinct perspectives on humour and self-deprecation.
This concept is evident in The Office, a British mockumentary-style sitcom that was later rewritten for an American audience. Employing a pseudo-documentary format with understated wit, the series captures the awkward power struggles and peculiarities of daily office life. Ricky Gervais portrays the main character, David Brent who is a flawed, yet relatable figure, grappling with ego and the need for approval. The other characters also often embody a sense of hopelessness and resignation that reflects the harsh realities of working in a dull, uninspiring environment. In comparison, the characters in The Office (US) were written to be more optimistic, with an idealistic outlook on life. For example, the characters. Tim (UK) and Jim (US) exhibit many common traits, such as harbouring feelings for the receptionist, being defensive when criticised, and feeling unmotivated by their office roles. However, Jim was portrayed as conventionally more attractive and notably less cynical (Griffin 2008: 157).
While this adaptation preserves the original mockumentary style of the British version, The Office (US) incorporated a more earnest and heartfelt tone towards its characters and storyline. Rather than focusing on deep cultural critique, American comedies often prioritise creating a sense of joy and amusement through relatable and uplifting storylines (Haugen 2015). This approach results in a more optimistic and plot-driven form of humour that resonates with a wider audience and promotes a sense of positivity and escapism, which is perhaps why The Office US earned itself a dedicated fan base and widespread acclaim for its blend of humour, heart, and relatability.
Ultimately, I found that the history of social class and regionalism is the root of most British humour. Jokes often make fun of something negatively, like a character experiencing misfortune or failing at an attempt at something. The origin for this trope likely stems from Britain’s notable history with social hierarchy, where members of higher social classes would find humour in mocking or putting down lower social classes, sometimes even on their specific use of language (Davies 2006). This historical context may have led to the popularisation of sarcasm as a common comedic technique in British humour, as the more privileged classes could find amusement in subtle language nuances rather than traditional punchline-led jokes. Moreover, a 2006 study into the differences in American and Arab comedy suggested that Americans were observed to employ more self-based humour, making fun of themselves, rather than other people, which Is likely linked to societies’ desire to homogenise power differentials inherent in American culture (Kalliny et al. 2006). Whilst America does have a history with social hierarchy, the societal structure was not as adamant or definite as in Britain. This is because America was founded on principles of independence and valorised an ethos of equality and opportunity, shaping a more fluid societal structure (United States 1907). While this liberality did not extend to all of its citizens, often on grounds of race, gender or sexuality, factors like the country's size, colonisation, and absence of rooted aristocratic traditions contributed to more adaptable and open societal structure with less rigidity in class distinctions.
1b. Regional accents, class and stereotyping
The use of accents and dialects play a significant role across the British television landscape, and have historically been crucial in shaping the representation of various social groups. These accents often serve as markers of identity, signalling not only geographical origins but also cultural and socioeconomic backgrounds. They contribute to the portrayal of specific character traits, reinforcing stereotypes or challenging them depending on the context and intent of the production. The relationship between accents and class frequently reflects Britain’s complex social hierarchy. While certain accents, such as Received Pronunciation (RP), have traditionally been associated with prestige and authority, regional accents have often been depicted as markers of lower social standing or even caricatured for comedic effect.
Historically, specific accents and dialects have been labelled as belonging to particular social divisions, largely due to stereotypes and prejudices. These categorizations have led to social divisions and misconceptions, unfairly judging individuals based solely on their manner of speech. For instance, Northern accents were considered to be a sign of poor education and were used to portray the lower class (Cooke, 2018). These negative connotations of Northern accents likely originated from a number of English Literature works; the character of Joe Gargery in the novel Great Expectations speaks with a strong Kent accent, evident in the line, "you and me was ever friends. And when you're well enough to go out for a ride—what larks!" (Dickens 1861). The uses of ‘you and me was ever friends’; and ‘what larks’ is indicative of a dialect that reflects the speech patterns of the Kent region. However, in some adaptations, Gargery is portrayed as having a northern accent, the 1946 film adaptation for example. The reason for this is unclear, likely related to artistic and practical reasons. Nevertheless, the choice was still made to portray this lower-class, uneducated character with a Northern accent. This portrayal reinforces the idea that social hierarchies underscore the sheer differences and stereotyping between the working and upper classes.
Shameless (Channel 4, 2004-2013) was a classic example of a British television comedy that uses northern accents to depict working-class individuals. While Shameless has received critical acclaim for its portrayal of complex characters and social issues, some critics have argued that the show perpetuates negative stereotypes about the working class, particularly through the use of northern accents and the portrayal of characters engaging in anti-social behaviour, as suggested by De Main, 2017. However, in a 2011 interview with the writer, Paul Abbott talks about how Shameless was created to portray ‘British poverty as it really is’ and that the only time poorer communities were shown on television was in poverty documentaries or really dire reality shows (Abbott 2011). The use of these accents in Shameless has prompted some critics to draw connections to a historical tradition of utilising such accents for comedic effect, as noted by Jewell in 1994 book, The North-South Divide - Jewell refers to an observation that the first time a Northern accent was used as a comedic device was in The Canterbury Tale, published in the 15th century by Geoffrey Chaucer. In 1975, The Canterbury Tales was reworked into ‘Trinity Tales’, a six-part-drama produced for the BBC by Alan Plater, who chose to use Northern accents just simply because the characters were originally written Northern.
On the other hand, an accent that was typically used to represent wealthy, upper-class characters was the ‘Received Pronunciation’ dialect (RP), which was originated from South England but evolved to be the standard for ‘educated’ speech in England, gaining prominence through extensive usage in trade, politics, and within the nation's governmental bodies (Wahlberg Lund 2009). Downton Abbey (ITV, 2010-2015) explicitly uses this linguistic tool, with the RP dialect used by the character Lady Mary Crawley to reflect her privileged upbringing and aristocratic status.
When employed modestly and without intention of causing offence, regional accents can add depth to the characters and their interactions, while also being used comedically. An example of a British TV comedy that plays on regional accents is Gavin & Stacey (BBC One, 2007-2019), which cleverly incorporates various regional accents, particularly between Essex, England and the Vale of Glamorgan, Wales. The use of these accents frequently leads to miscommunication among the characters, creating language barriers or misunderstandings, leading to humorous situations and conversations, such as characters mishearing words or phrases due to their unfamiliarity with certain accents, leading to amusing misunderstandings that the audience finds entertaining. This programme has been widely praised for offering representations of Welsh life that ‘are by turns warm, generous and outrageously subversive’ (The Open University 2021).
Linking this concept to my case study on The Office, this is evident in the character of Gareth Keenan, a worker at the Wernham Hogg paper company. Gareth, played by Mackenzie Crook, speaks with a distinct West Country accent, which is stereotypically associated with rural areas and is perceived by some as less refined or educated compared to other accents. The character's regional accent and mannerisms are juxtaposed with David Brent, who also speaks with a West Country accent but reflects a more formal, educated tone, which highlights his aspirations to appear more upper-class or refined than he might actually be. This shows that even if multiple characters have the same accent, adopting small aspects of the ‘Received Pronunciation’ standard can result in the audience perceiving the character in a different way. Gareth’s interactions with the other characters often involve misunderstandings, miscommunications, and humorous exchanges, which are fueled by the differences in their accents and social backgrounds. These comedic moments not only serve to entertain the audience but also to emphasise the various social dynamics and class disparities within the office environment, adding an extra layer of satire and observational humour to the show's overall narrative. Research conducted by Sam Friedman strongly suggests that Britain is still dominated by a working-class population twice the size of a privileged ‘professional-executive’ class (Friedman 2011), which is perhaps why the majority of British television programmes lean more towards working-class characters, catering to this larger demographic.
1c. Regional humour in the US
While the use of regional accents in television comedy is not unheard of in the US, it is not as prevalent as in other countries, which is likely due to both cultural and historical differences. Firstly, the US is much larger than the UK, with a staggering population of over 330 million people (United States Census Bureau 2023); the UK however, only has around 67 million (The World Bank 2023). The United States has a wonderfully rich history of immigration and cultural amalgamation, which has led to the country embracing a diverse array of languages, accents and dialects within its population. In a book chapter entitled ‘ethnic boundaries’, the authors talk about advertising, and the way jokes were often negatively making fun of particular ethnic groups. Over time, this occurrence saw a decline in social acceptance, coinciding with a growing social consciousness towards being respectful to people of other nationalities. (Gulas and Weinberger 2012). Of course, these types of jokes are still used - in a study by Gallois and Callan in 1985, researchers found that simply mentioning someone's ethnicity in a joke made it funnier for people. This relates hugely to ‘disposition theory’; according to Zillmann and Cantor, 1996, disposition theory suggests that both how people feel about the subject of a joke and the person actually making the joke is really important. If you like the target of the joke, you might not find it funny, but if you like the person actually telling the joke, you likely will. While this theory applies to both British and American humour, it is more relevant to American comedy as this strongly suggests the reason why accents and regional humour are more likely to be deemed offensive in the US.
Chapter Two: The Global TV Trade
2a. Why British sitcoms run for less time
UK sitcoms tend to be short-lived compared to their US counterparts, offering a brief but impactful viewing experience. This disparity in show duration sparks inquiries into cultural differences, production dynamics, and audience preferences. Understanding why British sitcoms are shorter unveils insights into comedic storytelling, marketing, and industry trends.
The Office showcases this distinction, with the original running for two series, and the American remake running for nine. In the book, ‘How to Watch Television’, Christine Becker discusses an approach in American television, referred to as the 'indefinite end' mode, where writers continuously come up with ways to delay an end-point in the plot, writing each season with open-ended storylines to keep the audience engaged for the show's entire run, year after year. In contrast, British programmes generally tend to run for a much shorter amount of time, having fewer episodes per series, with the exception of soap operas.
TV show production varies significantly between the US and the UK due to funding differences. In the US, ample budgets and extended seasons allow for more risk-taking and innovation within storylines, though maintaining quality over numerous seasons poses a challenge. Conversely, limited budgets in the UK drive creators to craft shorter, high-quality series, fostering creativity and preventing creative fatigue. American shows explore expansive narratives but may struggle with consistency, while British shows prioritise quality within a shorter timeframe, avoiding creative burnout (Bourdon 2009). This difference stems from the larger proportion of the American television market; US producers are more inclined towards creating longer running shows to capitalise on advertising revenues (Moran 2011). The commercial TV landscape in the US also means larger budgets, prolonging show runtimes compared to their British counterparts.
The UK television industry stands out for its inventive storytelling and pioneering programming. However, it functions within stricter financial constraints, drawing support from a blend of public funding and viewer contributions. This limitation greatly affects production budgets due to the emphasis placed on Public Service Broadcasting principles, which prioritise content that educates, informs, and entertains the public. Consequently, This strongly influences how British television programmes are made; with the US having more of a financial capacity to take risks in producing shows that may not guarantee success, whereas companies in the UK tend to view their limited funds as a precious resource and use it very cautiously.
In recent years, certain long-running American shows have faced backlash due to declining quality; for example, the first season of Riverdale (The CW, 2017-2023) had a concise and enjoyable plot but deteriorated with convoluted plots and random subplots, displeasing viewers who labelled it 'painful' and 'ridiculous'. Some even claimed the actors themselves despised the series (Bennett 2021). In contrast, many British programs end on a high note, like Spaced (Channel 4, 1999-2001), which received acclaim across its two well-received series, garnering BAFTA nominations (BAFTA 2002). Despite this success, the show wasn't renewed for a third season. Director Edgar Wright and writer Simon Pegg expressed concerns about the actors' age and the risk of ruining the show's quality with a prolonged run (Wright, 2007).
2b. Economic Implications and Market Expansion
During the late 20th century, the export of British programmes gained immense popularity in the US, furthering cultural exchange. Programmes like Doctor Who (BBC One, 1963-1989, 2005-present) captivated American audiences and bolstered the recognition of British TV. Fawlty Towers (BBC Two, 1975-1979), among other sitcoms, found success on PBS in the late '70s, creating a strong market for British television in the US.
The US boasts a larger TV market due to its much larger population, hosting a diverse array of networks, streaming services, and studios catering to varied tastes. With over four times the population of the UK, the US garners much higher advertising revenues due to its larger potential audience (Bielby and Lee Harrington 2008: 27). The expansive nature of the US market encourages greater investment in sitcoms, stand-up specials, and comedic series, leading to a more competitive environment. In contrast, while the UK has a vibrant comedy scene and a rich tradition of producing iconic shows, its market is more compact due to a smaller population. However, as previously mentioned, the UK's market is known for its quality over quantity, supporting innovative comedy talent which attracts international acclaim. Substantial revenue is also generated through advertising, selling broadcasting rights and merchandise sales, such as DVDs, and branded items. For example, while Doctor Who is not a sitcom, it did warrant an extensive range of merchandise including action figures, clothing, DVDs and books (Argos 2011).
Advertising revenue is crucial for television comedy and affects a whole range of aspects, such as production, distribution and overall success. In the US, advertising breaks in programming generate vast revenue, which then fuels quality and production value (Shahaf and Oren 2013). Whilst this is also true for the UK, British companies have to operate within a different regulatory framework. Successful shows heavily rely on securing good advertising deals, influencing content creation, scheduling, and market competitiveness. This reliance shapes and sustains the TV comedy landscape in both countries, dictating the type of content produced and strategies used to engage audiences in a highly competitive environment (Ramachandran 2020).
In recent times, streaming services like Netflix and Amazon Video have transformed television as we know it by transcending geographical boundaries. Unlike traditional television, which is largely limited by broadcasting regions, these platforms offer a global marketplace where diverse cultural content finds a worldwide audience. (Wayne and Uribe Sandoval 2021). This expansion has not only widened the viewership but has also opened doors for content creators from different countries to showcase their work on an international stage.
One series that benefited from this in particular is Squid Game, which traditional British television networks would not have broadcasted, due to its boundary-pushing nature; the Korean series' cultural and linguistic nuances would have posed challenges for traditional networks. Netflix and Hulu, major Western streaming services, have played a pivotal role in making foreign television shows more accessible (Lee 2017).
The frequency and success of adaptations or remakes of TV comedy shows between the UK and US have been notable. This exchange of content has been fairly common, with numerous British comedies finding their way into American adaptations and vice versa. Shows like The Office, All in the Family (adapted from Till Death Us Do Part), and Three's Company (based on Man About the House) are prime examples of successful adaptations that made a significant impact on both sides of the Atlantic. Conversely, there have been instances where American shows were adapted for UK audiences, but not all have been equally successful. The US sitcom "Friends" has seen attempts at adaptation for British audiences, but these adaptations did not quite match the success of the original American series.
Assessing success of adaptations involves considering audience ratings, critical reviews, awards, and show longevity. For instance, the American adaptation of ‘The Office’ received critical acclaim, won awards, and became a cultural phenomenon, whereas some other adaptations might not have achieved the same level of success - for example, the American adaptation of BBC’s Ghosts. While the BBC claims that ‘Ghosts has become the most successful translation since The Office’, critics say that the ‘sitcom’s best bits have been removed’, and that this version drifts away from the original show format where progress is reset at the end of each episode, returning characters to their starting point (Youngs 2022; Seale 2022; Murray 2023). This is part of a longstanding comic philosophy (shared with a lot of UK sitcoms), rooted in the idea that failure is funny because it’s relatable.
In terms of frequency, while there are numerous adaptations, not all of them have been highly publicised or widely successful. Many adaptations do not make it past the pilot stage due to various reasons such as differences in humour, inability to resonate with the new audience, or simply not meeting the standards set by the original (Andreeva 2007; Hallam 2014).
Ultimately, the success and frequency of adaptations or remakes of TV comedy shows between the UK and US vary significantly based on multiple factors including cultural differences, audience reception, and the creative execution of the adaptation.
2c. Challenges and Opportunities in the Global TV Market
The rapid evolution of the modern television landscape brings a myriad of challenges and opportunities. From ever-changing viewer preferences to technological advancements and the competitive nature of the industry, the global TV market stands at the intersection of innovation and adaptation.
One prominent issue worth highlighting is that American sitcoms often experience a higher staff turnaround compared to British sitcoms due to several factors, such as episode volume, production scale and industry dynamics (Levy 2019). As previously mentioned, these sitcoms typically run longer seasons with more episodes than their British counterparts. This necessitates a larger team to manage the workload, leading to increased turnover as individuals might move on to new projects or experience burnout. Furthermore, during the era of broadcast television dominance (around ten years ago), a season of an American sitcom commonly spanned 22 episodes. Filming would commence after writers had drafted one or two episodes, where they would then join the production team on set for revisions. Over time, this path could lead writers to helm their own series. However, with the rise of Netflix and other streaming platforms, a shift occurred toward shorter series, developed in compact "mini rooms" employing fewer writers. Typically, for a streaming show, a batch of ten to twelve episodes gets scripted simultaneously, resulting in the dismissal of many writers before the filming phase commences (Richwine 2023).
The US TV industry is highly competitive, fostering a fast-paced environment and a constant demand for fresh content - this dynamic can lead to higher turnover rates among writers, directors, and crew members. In the US, professionals often change jobs more frequently, driven by a cultural approach to seeking new challenges or better opportunities (Kochhar et al. 2022). In contrast, UK sitcoms often have shorter seasons and smaller teams, leading to a more intimate working environment. This can foster closer relationships among the staff and potentially result in lower turnover rates as individuals might find greater job satisfaction and a sense of camaraderie within the team. Additionally, the different scale and structure of the UK television industry possibly leads to a different approach to staffing and team dynamics, contributing to lower turnover.
Another noteworthy aspect that technological advancements in TV introduce, is the use of algorithms and categorisation. The Netflix algorithm has transformed how viewers navigate and select shows, emphasising personalised recommendations driven by user behaviour and preferences (Frey 2021: 66). This algorithm analyses a viewer's watch history, time spent on titles, and genre preferences to curate a tailored list of suggestions (Pajkovic 2021). Interestingly, this system has steered audiences toward choosing shows based on broad 'tags' or categories rather than specific content. These tags, often vague descriptors like "dark," "quirky," or "binge-worthy," serve as guiding signposts for viewers. As a result, the decision-making process tends to rely more on these tags rather than the detailed content itself, altering how audiences engage with and discover new shows on the platform.
Chapter Three: Transnational Adaptations
3a. ‘The Office’
The Office is an example of a British sitcom that was remade and adapted for an American audience. Created by Ricky Gervais and Stephen Merchant, the original BBC series, spanning just two series, gained initial acclaim but found exceptional success in its American iteration, running for nine seasons over its eight year run.
The Office satirised mundane office life, featuring Ricky Gervais as the socially awkward boss, David Brent. Initially drawing modest viewership, the series eventually reached nearly 5 million viewers and garnered numerous awards, including a Golden Globe for Best Comedy. (Griffin 2008: 156; BBC 2004). Despite concluding in 2003, The Office was still named one of the best TV shows of the 21st century in a 2019 article from The Guardian (Abbott et al. 2019).
The American adaptation was sparked when Greg Daniels (known for his work on The Simpsons and Saturday Night Live) received a VHS tape of the UK version from his agent. Intrigued by the show, Daniels met with Ricky Gervais and Stephen Merchant and pitched an idea that felt like the original show, but from a more American perspective (Bland 2020). Along with Howard Klein, original creators, Gervais and Merchant became executive producers for the first season.
The pilot episode mirrored the British original shot-for-shot, as an attempt to retain its distinct style. However, following an underwhelming first season, Daniels opted to split from the British series' bleak atmosphere, as imitating the British episodes was incongruous with the American sensibilities and performance styles (Craig 2023). This was achieved by making the characters more affable, thus paving the way for the American version to establish its own distinct comedic style (Rosenfeld 2023). Michael Scott (portrayed by Steve Carell) differs from the British David Brent (played by Ricky Gervais) in their comedic style; while both are awkward and inappropriate, Michael tends to be more naïve and well-meaning, whereas David is more overtly abrasive and self-centred. Jim Halpert, portrayed by John Krasinski, shares similarities with Tim Canterbury, played by Martin Freeman, as both are the witty, relatable characters who serve as the show's emotional centre. However, Jim's portrayal tends to be slightly more optimistic and laid-back compared to Tim's often more subdued demeanour. These changes were likely made due to cultural differences with American audiences responding well to characters who display optimism and hope, as these qualities align with cultural ideals of positivity, ambition, and perseverance mentioned in chapter one. (Teasdale et al. 2021).
The US version of The Office set itself apart from other American sitcoms by omitting laugh tracks, aiming for a more natural and realistic tone in line with its mockumentary style. Instead of relying on canned laughter, the show used awkward pauses and the characters’ reactions to deliver jokes (Booth 2005). Laugh tracks originated in live shows in the 1950s but persisted in non-live audience sitcoms due to their perceived enhancement of comedic timing and audience engagement (Fox 2021; Brewer 2018). Networks believed they improved the viewing experience, encouraging consistent sitcom reception.
With nine seasons, the American version had more time to develop its characters, which then allowed viewers to form stronger connections, making it a more immersive experience. The longer run also gave room for more complex story arcs and character growth; for example, crafting a heartfelt romantic subplot between Jim and Pam that carried significant emotional depth (Wray 2018). The British original had a romantic element with characters Tim and Dawn but this relationship was not explored to the same extent as Jim and Pam’s. In fact, many of the US characters delved into romance during the show’s run, contributing to the series' multifaceted storytelling and character development.
The casting choices likely also had an impact on the success of The Office in the US. Steve Carell was a well-known name in American media and already had a successful reputation for playing characters in other television comedies. Throughout the show’s run, many plotlines unfolded. Even when focusing on other characters like Jim, Dwight and Pam, Michael always remained the centrepoint of the story, often initiating primary conflicts, and then becoming the eventual closing punchline of each episode. Carell chose to leave The Office after season seven, throwing the main characters’ relationships into chaos and leaving a noticeable void in the office dynamics, which caused a significant shift in the show's narrative (Goyaz 2023). Viewership dropped by a staggering 17% after Carell’s departure, strongly suggesting that the audience's attachment to Michael Scott was a pivotal factor in the show's success (Powers 2011).
3b. ‘This Country’
Like The Office, This Country was another mockumentary-style sitcom aired by the BBC. The series was created by siblings Daisy May and Charlie Cooper and ran for a total of three series between 2017 and 2020. The show centres on the daily experiences of two cousins residing in a quaint Cotswolds village. The show's eccentric yet relatable characters, each with their own quirks, drive its comedic moments through their interactions and everyday responses. Capturing the essence of rural England, it thrives on their minor thrills in their mundane lives, seamlessly blending humour with social commentary. By cleverly subverting rural stereotypes, the show turns them into humour sources, using humour that is often deadpan or understated, relying on timing and situational comedy rather than overt punchlines.
This Country was one of the biggest online BBC Three comedies, and despite not being broadcast on traditional television, over 52 million requests were received from fans wanting the series to be permanently available on BBC iPlayer (BBC 2020). This Country ran for three series, with six episodes in each series and won a multitude of awards from the likes of BAFTA and the Royal Television Society (Smith 2018; BAFTA 2019).
The writers decided to end the series after series three, claiming this was something they had decided on when the second series was still in production. In an interview with The Express, Daisy May Cooper joked they had ‘run out of ideas’ and did not want to prolong the series if the quality was going to decrease. Producer Simon Mayhew Archer also stated they wanted ‘to go out with the standard as high as possible’, following this British tradition of ending sitcoms on a high (Mitchell 2020).
As This Country was heading into its third series in 2020, American broadcast company Fox greenlit an American remake, Welcome to Flatch, created as a co-production between Lionsgate, Fox Entertainment, BBC Studios and Feigco Entertainment. Not only were Lionsgate and Fox already established players in the entertainment industry, but executive producers Jenny Bicks and Paul Feig were already renowned creators and producers in their own right. Their involvement in the American remake of This Country added further weight to the project, bringing expertise and creative vision to the adaptation (White 2020).
Like many American adaptations, Welcome to Flatch had a higher number of episodes per season, with the show reaching a total of 27 episodes from just two seasons. Review aggregator website Rotten Tomatoes gave the show a rating of 6.5 (out of 10), with critics claiming that ‘This Americanized reimagining of a British sitcom doesn't make the funniest of first impressions’ (Rotten Tomatoes 2022). Additionally, in an article from AVClub, the writer states that ‘Welcome To Flatch isn’t a worthy addition to the primetime slate right away, but it’s not without hope either’ (Gajjar 2022). The series was cancelled by Fox after its second series, praising the creativity of writers Jenny Bicks and Paul Feig, but articulating that the audience response was not as strong as they had had hoped (Otterson 2023). Conclusively, this proves that even if a show is produced by established large-scale companies or by well-known writers, this does not guarantee success for an American adaptation of a British original. This Country was produced solely by BBC Studios, and the writers were not particularly notable before the series began, meaning that This Country gained its popularity simply through the actual content - the characters, setting and plot. Welcome to Flatch writer Jenny Bicks says she loved the British original, specifically the ‘ubiquitous British comedy for the moments they sit in silence’, along with the use of small, tragic moments for comedy (Martin 2022). Although, in the same article, media and globalisation professor Dr Andrea Esser states that remakes experience great difficulty in finding success, especially with the rise of streaming platforms. Successful adaptations like The Office make producers believe that transnational remakes are destined for success, when actually many of them do not make it past the pilot (Wray 2023).
3c. ‘Coupling’
Sitcom Coupling, created by showrunner Steven Moffat was aired between 2000 and 2004, offering a comedic glimpse into relationships. Moffat's wife, Sue Vertue, an esteemed producer, also played a role in the series' production. With only Moffat and Vertue engaged in its writing process, the dynamic was unique. Vertue revealed Moffat's writing routine, taking place on the top floor of their residence. While Moffat crafted scripts, Vertue would silently read and chuckle from a distant location, ensuring her laughter did not sway his writing process. She provided minimal notes, opting instead to just mark the moments that made her laugh. Moffat then fine-tuned the script based on her laughter cues, making the series almost ready for production from the first drafts (Moffat and Vertue 2004).
The series revolves around the dating escapades, intimate encounters, and misfortunes of a group of six friends in their early thirties. It frequently portrays the three women and three men discussing shared events but from completely contrasting perspectives, showcasing diverse interpretations of the same situations.
Coupling appeared to be a British adaptation of the American sitcom Friends. While this was not a direct adaptation of Friends, critics suggested that it was a strong influence (Anderton 2020). Set in London, Coupling seemed to echo many of the themes and dynamics seen in Friends, the parallels and distinctive elements between the two series becoming evident.
British adaptations of American sitcoms are rare. One possible explanation for this might lie in the disparity of resources. American sitcoms often benefit from larger pools of writers, elevating their overall standards, while British comedies usually rely on smaller teams (Stubbs 2018). Additionally, with many American shows achieving global success, there is less incentive or perceived need to adapt these shows for British audiences. Friends had already captivated British audiences when it aired on Channel 4 from 1995 until its conclusion in 2004, gaining a viewership of 9.6 million (Channel 4, 2007). The show's iconic theme song even climbed to top three on the UK charts (Official Charts 2016). Since Friends had already gained popularity in the UK, the sitcom Coupling was not a fresh, new concept and Moffat eventually abandoned the ideas for a fifth series when he began writing for the new Doctor Who reboot in 2005 (McLean 2010). However, Coupling did reach a fourth series, earning accolades along the way. The Times acclaimed Moffat as an audacious and inventive sitcom writer, while The Guardian applauded the show for its remarkably original and inventive comic writing (Jeffrey 2022). Its achievements included winning the Silver Rose for Best UK Sitcom at the Rose d'Or Light Entertainment Festival in 2001 and securing victory in the Best TV Comedy category at the 2003 British Comedy Awards (BBC 2001; British Comedy Awards 2014).
Conclusion
In conclusion, differences in historical and socio-cultural humour between British and American television profoundly affect the adaptation of British shows for US audiences. The contrast in humour styles originates from a fundamental disparity in perspectives: while Americans often emphasise the belief that hard work leads to success and joy (embodied in movies like Annie and Rocky), the prevalent optimism contrasts sharply with the prevailing sense of pessimism in the UK. British humour reflects a mindset shaped by enduring hardships, leading to a tendency to anticipate the worst to shield against disillusionment (Megginson 2019).
The dry, sarcastic nature of British humour finds its roots in the country's rich history of social hierarchy. This includes the use of accents in sitcoms, stemming from a tradition where upper-class individuals mocked speech patterns, using them as a form of comedic ridicule. Accents in British TV implicitly convey character information to the audience without explicit explanation, a practice stemming from this historical context. In contrast, the absence of such a complex social hierarchy in the US resulted in a different comedic landscape where mocking others' failures was not a prevalent theme.
The shorter runtimes of UK sitcoms predominantly relate to funding constraints. Publicly funded networks like the BBC allocate resources cautiously to avoid investing in potentially unpopular shows. Conversely, the larger scale of American production companies, historically endowed with greater financial resources, often leads to prolonged shows that may suffer quality declines over time.
The exportation of UK content to the US, illustrated by the success of shows like Doctor Who, has cultivated a strong American appreciation for British content, leading to a global fan base and increased economic viability through merchandise sales worldwide. Although both US and UK shows may boast fan bases and merchandise, the global appeal of UK content translates into a more substantial economic impact.
In terms of marketing and global accessibility, the acquisition of syndication rights by streaming services has revolutionised the television landscape. This shift has intensified market competition, granting audiences the freedom of on-demand access to a diverse array of content across cultures. Streaming platforms offer opportunities for both production companies and viewers to explore and promote content previously inaccessible in traditional broadcast formats, fostering a more inclusive and diverse media landscape.
While certain American adaptations of British sitcoms achieve significant success, various factors impact whether a show resonates with audiences, including content, comedic approach, cultural differences, and the existing reputations of the cast and crew involved.
The Office found success in both the UK and US, earning accolades in both versions. The American remake benefitted from more funding (from being produced by NBC) and boasted a more noteworthy cast, which likely contributed to its triumph and positive reception, leading to an extended run. However, lengthy shows can often surpass the tenure of their cast, resulting in actors departing before the series concludes. For instance, viewership of The Office declined notably after Steve Carell's departure. My findings indicate that a British show's existing success typically does not anticipate success in America. The Office initially gained substantial viewership only after deviating from the original British script and adopting a more American comedic style.
Nonetheless, instances like This Country and its adaptation Welcome to Flatch show that even with established, upscale production companies, success is not assured. Welcome to Flatch did not match the success of its UK counterpart, this discrepancy arising from America's lack of alignment with dry British humour, resulting in the show not resonating as strongly with US audiences. This Country, like many UK sitcoms, employs social class related elements for humour, a feature not prominent in American entertainment. Additionally, the show is set in a rural English town, which typically is not portrayed on mainstream global television, further alienating US viewers. As demonstrated by The Office, adaptations tend to gain popularity in America, only after fostering more American styles of TV. Unfortunately, the This Country remake resulted in a bland mockumentary lacking the original British charm, omitting particular customs and cultural facets inherent to British life.
Coupling illustrates that British adaptations of American shows garner little interest due to the already substantial popularity of American media in the UK. American shows are already loved and enjoyed by the British so there is little need to create localised renditions.
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Television References
All in the Family. CBS [TV Series] 1971 - 1979
Coupling. BBC Two; BBC Three [TV Series] 2000 - 2004
Doctor Who. BBC One [TV Series] 1963-1989; 2005 - present
Downton Abbey. ITV [TV Series] 2010 - 2015
Fawlty Towers. BBC Two [TV Series] 1975 - 1979
Friends. NBC [TV Series] 1994 - 2004
Gavin & Stacey. BBC Three; BBC One [TV Series] 2007 - 2019
Ghosts. BBC One [TV Series] 2019 - 2023
Ghosts. CBS [TV Series] 2021 - present
LEAN, David. 1946. Great Expectations [Film]
Man about the House. ITV [TV Series] 1973 - 1976
Riverdale. The CW Television Network [TV Series] 2017 - 2023
Shameless. Channel 4 [TV Series] 2004 - 2013
The Office. BBC Two [TV Series] 2001 - 2003
The Office. NBC [TV Series] 2005 - 2013
This Country. BBC Three [TV Series] 2017 - 2020
Three's Company. ABC [TV Series] 1977-1984
Till Death Us Do Part. ITV [TV Series] 1965 - 1975
Trinity Tales. BBC Two [TV Series] 1975
Welcome To Flatch. Fox [TV Series] 2022 - 2023
오징어 게임 (Squid Game). Netflix. [TV Series] 2021 - present
Author: Bethan Radford
Module: TEL310 Realisation
Assessment: Dissertation
Classification: 1st / 80%
Degree: BA (Hons) Television
Submission: 11th December 2023
Words: 6986