Watching the English by Kate Fox

Author:Kate Fox
Language: eng
Format: epub, mobi
Publisher: For the Benefit of Mr. Kite
Published: 2003-12-31T16:00:00+00:00

Sit-com Rules

Much the same warty-realism rules apply to English situation-comedy programmes. Almost all English sit-coms are about ‘losers’ – unsuccessful people, doing unglamorous jobs, having unsatisfactory relationships, living in, at best, dreary suburban houses. They are mostly working class or lower-middle class, but even the more well-off characters are never successful high-flyers. The heroes – or rather, anti-heroes, the characters we laugh at – are all failures.

This has caused a few problems in the export market: when popular English sit-coms such as Men Behaving Badly are ‘translated’ for the American market, the original English characters are often found to be too lowclass, too unsuccessful, too unattractive, too crude – and generally just a bit too uncomfortably real. In the American versions, they are given job promotions, more regular features, better hair, smarter clothes, more glamorous girlfriends, more up-market houses and lifestyles. Their disgusting habits are toned down, and their language is sanitized along with their bathrooms and kitchens.[48]

48. I am indebted to Simon Nye, author of Men Behaving Badly, and Paul Dornan, who was involved in its ‘translation’ for the American market, for these observations, and other helpful insights into the nature of English comedy.

This is not to say that there are no losers in American sit-coms: there are losers, but they tend to be a better class of loser; less irredeemably hopeless, squalid, grubby and unappealing than the English variety. One or two of the characters in Friends, for example, do not have glamorous careers, but nor do they ever have a hair out of place; they may get fired from their jobs, but perfect features and perfect tans must be some consolation. There is only one long-running, successful American sit-com, Roseanne, that comes close to the degree of realistic kitchen-sink seediness that is the norm in English television, and that is demanded by the empiricist, down-toearth, cynical, prurient, curtain-twitching English audience, who want to see Pevsner’s ‘truth and its everyday paraphernalia’ in their sit-coms as well as their soap-operas.

I am not trying to claim here that English comedies are necessarily better or more subtle or more sophisticated than American ones or anyone else’s. If anything, the humour in most English sit-coms is rather less subtle and sophisticated than the Americans’, and usually considerably more childish, crude and silly. In everyday life and conversation, I would maintain that the English do have a keener and more subtle sense of humour than most other nations, and this mastery of wit, irony and understatement is also evident in a few of our television comedy productions – but there are still a vast number in which farting and saying ‘arse’ a lot, or indeed virtually anything to do with bottoms, is regarded as the pinnacle of hilarious repartee.

We may legitimately pride ourselves on the sparkling wit of programmes such as Yes, Minister, and the English are undeniably brilliant at spoof and satire (we should be, it’s what we do instead of getting angry and having revolutions), but let’s not forget that we

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