The Proof's on the Telly

They're blaming it on the Great Writer's Strike of 08/09: It's been reported that 6 out of the 19 scripted series (comedies and dramas, not "reality" shows or game shows) slated for next season are going to be reworked foreign offerings. And the lion's share of those are, you guessed it, from Great Britain.

Of course, I disagree with the basic premise that the strike made it somehow harder mine the ideas of local talent.

But in reading an article about the trend, if just hit me like a ton of bricks that some of the most influential shows -- shows that have a major impact on our culture here in North America -- actually sprung from British minds. It's almost a cliche to bring up All in the Family and Three's Company when discussing this topic, but when you see them amongst the others, it's pretty impressive:

All in the Family
Sanford and Son
Who Wants to Be a Millionaire
American Idol
Dancing with the Stars
The Office

These aren't tiny little shows ... these are major water-cooler-conversation shows, shows that contribute catchphrases, cheesy products, and spinoffs. Shows that launch legendary careers, ranging from Rob Reiner to Kelly Clarkson.

Naturally, the list could be much, much longer if they'd leave the bloody things alone and just air them as is. After all, there's only one Carroll O'Connor, and only one John Ritter. Case in point: Are you telling me that Harvey Korman (bless his memory) ever had one moment in his entire comedy career that was half as funny as the scene were John Cleese beats up his car in Fawlty Towers? Why did they even try and adaptation? Were the references that incomprehensible to an American audience? Nutt House was cancelled after six episodes, even though Mel Brooks was an executive producer, and even though my fellow alumn, Brian MacNamara had a recurring role.

Ditto for the Stephen Moffat creation, Coupling. That show, featuring Jack Davenport from the Pirates of Caribbean films and Richard Coyle as the insane Welchman Jeff Murdock, was one of the most inventive sitcoms I've ever seen. The American version came and went in just 10 episodes even though they performed the Moffat scripts nearly word for word.

It's amazing they never did a show called "Morry Cobra's Soaring Carnival" or "Mr. Franks and Beans" or something.

BBC 7 / BBC Heaven

It's annual report time for the Beeb, and just like every year, there's a kerfuffle over the licence fees. According to this report from American Public Media's Marketplace, the the networks take in $6 billion -- 6 thousand million. And the bulk of that money still comes from the license fee.

The license fee is a mandatory fee for anyone in the UK with a television set, and it's been going on for decades. Instead of fund drives, the authorities have developed all kinds of technologies for
detecting if a given household has a telly and they cross reference that to make sure they're not freeloaders.

It's amazing to me, in the age of Sky TV and cable and dishes and Internet that this is still going on. But they must be doing something right. Just off the top of my head, look at what they've produced over the last few decades -- and this isn't even mentioning the news:
Doctor Who
Monty Python
Upstairs Downstairs
Red Dwarf
As Time Goes By
French and Saunders
The Vicar of Dibley
Coupling
... I could keep going for pages ...

Yet, today, when I've been lucky enough to get to somewhere carrying BBC America (my local cable company doesn't carry it and I can't get the dish) it's all been reality shows and games shows -- not my cup of tea.

And don't they get money from BBC America and the exports of all the great shows over here (I'm including the documentaries that they co-produce with the Discovery Channel and PBS)? I guess not enough, not if they want to keep making the amazing documentaries and other expensive programming that rarely makes it across the pond.