I’ll be the first to admit I’m addicted to good television, and while I am guilty of indulging occasional reality trash such as “American Idol,” or “Last Comic Standing,” I try to limit my viewing habits to material that is worthwhile. That doesn’t mean I always demand the excellence of programs like “The Shield,” or “The Wire,” and yes, even “Buffy the Vampire Slayer” (don’t let the silly title fool you!) I appreciate a silly sitcom as much as a deep drama – just entertain me or make me think.
American television, specifically network television, has been in a quality freefall for the last 20 years, from which they are only now starting to climb out. The surge of quality programming on cable has forced them to up their game, yet they still pander to the lowest common denominator as their slates are at least half-filled with reality rubbish.
Up until a few years ago I ignored the abundance of excellent programming produced in the U.K. (with the exception of “Doctor Who”). It wasn’t until the program “Hustle” was imported to the States that I began to pay attention. “Hustle” is a sly dramedy about four high-stakes grifters with a Robin Hood complex. They only stole from marks that “deserved” it. All the leads fit their roles perfectly, and for us Yanks there was the presence of Napoleon Solo himself, Robert Vaughn, providing a familiar face with which we could identify.
I was immediately hooked, and learned this show was already in its third season in the U.K. by the time it reached our shores. I made it my business to obtain the other episodes (let’s leave it at that), and the show soon ranked among my all-time favorites. It had so much going for it – the leads exuded buckets of charisma and their banter flowed brilliantly. It made terrific use of London locations, and the characters often stopped the action to dialogue directly with the audience.
Right around this time I watched the entire run of “The Office,” and was introduced to Ricky Gervais’ style of biting humor. His style and the documentary feel of the show were like nothing I had ever experienced in American comedy. If anything my only complaint was the show ended so abruptly – I soon learned that’s what sets them apart from us.
There is not nearly the same amount of money being thrown at U.K. shows as in this country. Even when a show is hugely popular it may become counter productive to continue producing it. Perhaps more importantly, there is a notion among creative personnel in Britain that once a show has piqued (be it in one “series” or four) it’s best to put it to rest and focus on something new.
That was never demonstrated more clearly by “Life on Mars,” a show that has since become my all-time favorite (U.K. or otherwise). The premise is simple. While investigating his girlfriend’s kidnapping police officer Sam Tyler is struck by a car and left in a coma. He wakes up in Manchester, 1973, where he finds his policing methods completely out of sync with the less than subtle tactics of the gruff, misogynistic and often racist, officers he is forced to work with.
Is Sam dreaming all this? Has he traveled through time? I quickly realized that the truth of his circumstance is immaterial, and the storytelling opportunities created by his predicament are incredible. Throughout the show’s run Sam met his parents and others integral to his life, understanding them in a way he never could otherwise. His interactions with his 1973 colleagues are priceless, as is his horror at their methods. The relationship between John Simm as Sam and Phil Glenister as DCI Gene Hunt is at the heart of the show, and their rapport with each other is brilliant.
All concerned decided to end “Life on Mars” after two series. I could’ve watched it until Doomsday, but as I’ve come to understand the inner workings of U.K. television I understand the rationale. These incredibly talented writers and actors have all moved on to other quality projects.
American television “seasons” are extremely rigid. 22 episodes are produced each year, and the crushing schedule leaves little time for these knackered actors to pursue other projects. Not so in the U.K. where a series may last 6 or 8 episodes (or rarely, in the case of “Doctor Who,” 13). Actors have maximum flexibility to be in more than one show at once.
For me, the 2008 Writers Strike was a blessing in disguise. Realizing this was an imminent reality I stockpiled a treasure trove of U.K. shows (and some Canadian shows as well) to see my wife and I through the drought. Reality was not an option, nor were the home improvement shows she’s addicted to!)
While we did catch up on some excellent American programming such as “Dexter,” and “Weeds,” the bulk of our viewing choices came from the BBC or ITV. I introduced her to “Life on Mars,” and its’ spin-off, “Ashes to Ashes,” as well as “Wire in the Blood,” “New Tricks,” “Extras” (another Ricky Gervais offering) and great “one-off” series such as “State of Play,” “Five Days,” and “Last Enemy.” The list goes on.
While we may not understand the odd cultural reference or slang the stories are universally relatable – although one show, “Empty,” with Billy Boyd (of Lord of the Rings fame), was rendered almost incoherent for us by the heavy Glasgow accents of its’ two leads! There’s also a tendency, especially in their political thrillers, to demonize America, which I could care less about, but if that sort of thing bugs you, take note.
I used to believe all U.K. programming was cheesy looking sci-fi and snobby historical drama. If you’re lucky enough to have BBC America on your cable system, start watching ASAP. There is a wealth of U.K. programming available domestically on dvd, although not as much as I would like. There are dodgier ways of obtaining this stuff and the more industrious among you know what I mean!
Many of our most revered shows such as, “All in the Family,” “Sanford and Son,” and “Three’s Company,” to contemporary hits like “The Office” were inspired by British shows. With few exceptions, American producers have done a terrible job adapting British shows to our shores. "Life on Mars" being a prime example!
If audiences limit themselves to our wide array of sitcoms, bland police procedurals, and soapy dramas that take place in lawyer’s offices, hospitals or schools, (to say nothing of reality crap) they do themselves a real disservice. Of course, I encourage them to seek out great cable shows like “Breaking Bad,” “Dexter,” “The Wire” and “Homeland,” among others, but the U.K. should be your next stop on the road to broadening your entertainment horizons!
You'll be chuffed to bits if you do!
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