International TV adaptions: comparing and contrasting

James from London

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I've just come across a recommendation for this podcast, in which :

"A British writer (and guests) explains top sitcoms to an American stand up comedian.

David Tennant even guests.

The Reggie Perrin one is excellent."


 

Mel O'Drama

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I've just come across a recommendation for this podcast, in which :

"A British writer (and guests) explains top sitcoms to an American stand up comedian.

David Tennant even guests.

The Reggie Perrin one is excellent."




Oh wow. And there's a Carry On Cleo one and TWO Victoria Wood episodes. How have the algorithms not put this in my path? It's an instant subscription from me (now I just have to find the time to watch them all).

Glad you shared this one, James.
 

Mel O'Drama

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I've just come across a recommendation for this podcast

I've been flying through the first series, electing to watch in order but to initially only watch those episodes devoted to series I've watched. This means I've watched the Introductory episode, both of The Young Ones episodes and the two Victoria Wood ones. Sometimes - certainly when it comes to reaction videos - I find people having different knowledge levels a bit off-putting and prefer that everyone goes in blind, but it works incredibly well with this particular format where background is important (it would probably be frustrating to watch either two people who don't understand the background or context). The different cultural backgrounds makes it even more juicy.

Much as I've enjoyed all the episodes I've watched, the two episodes featuring guests have been next level. I haven't watched a lot of Ben Elton interviews, but I watched one fairly recently where he was talking about his book and I found him very engaging and erudite, and this was the case with his episode here. A special dynamic in the Ben Elton episode was the sense that Tom was meeting a hero, which evidently was more successful than Ben meeting his hero Ronnie Barker. As someone who rates Ronnie B. incredibly highly, it was a little disappointing to hear of the rollicking Ronnie B. gave Ben for swearing on TV (I've read or heard this somewhere before, so I'm guessing it's a fairly well-documented encounter) and Ben's view (which seemed balanced and fairly objective) that Ronnie's ego was fairly well-known at the Beeb.

In the first episode on The Young Ones I also made note of the sitcom archetypes of matriarch, patriarch, craftsman and clown as I'm not sure I'd heard of that specific formula before.

Tying in with the theme of this thread, it's interesting that producers of a potential American remake of The Young Ones could not fathom that there was no hero for the audience to root for, so Paul Jackson ended up throwing his hands in the air and telling them it was Neil. I really can't imagine what an American adaption would have looked like, and I'm kind of relieved that it (presumably) didn't happen.

Geoff Posner also covered remakes when they chatted about Steptoe/Sanford & Son(s)and The Office:
What's really interesting, I think, is when you examine how different countries translate all the characters that are in The Office. How they view their equivalent of our stereotypes, and what their stereotypes are... If you can get a translation it's fascinating to see how different countries kind of view the hierarchies of people working... Different countries have different ways of looking at different people and I always thought that was really interesting.

Given Victoria Wood's work is very rooted in British culture it's not all that surprising (but still disappointing) to hear of Geoff's experience of watching As Seen On TV with American friends when it aired on a PBS station, only for it to be received with stony silence, leaving him wanting to "eat a cushion and disappear behind the couch" (to closely paraphrase his own words). But how wonderful to hear more of the process of making that series in great detail, from his initial read through with Vic and Julie Walters (Vic met him from the train, and they went back to where Julie was making tea before sitting on the floor and reading through). Count me in for diving into Geoff's book whenever it's finished.

I confess to rolling my eyes at some dismissive generalisations in the first VW episode (the one without Geoff) about not finding men as funny as women because "they just don't have that instinct", which, apart from doing Duncan Preston a huge disservice, is the kind of bias this series doesn't need. Still, this podcast is all about the journey, so I can hope perspectives shift at least a little as things progress since there are some talented and very funny women and men in upcoming episodes.

All told, though, the podcast is a gift. I just have the Morecambe & Wise and wrap-up episodes to watch, then I'm hugely looking forward to Series Two as I'm fairly sure all the series are ones with which I'm familiar.
 

Mel O'Drama

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As of last night, I've now watched no less than three versions of the opening episode of Ghosts: the original, the American adaption and the new Australian adaption.

The British version was really good, evoking children's sitcoms of the Seventies and Eighties (most notably The Ghosts Of Motley Hall but also with a touch of Rentaghost). The characters were painted with broad strokes, and I occasionally struggled with the 21st Century speech cadence (which naturally leans into Americanism fairly regularly) but there was also a heart that added substance.

I watched the American adaption's opening episode some years ago (I forget when). A while back I commented this:

it's quite watchable but I couldn't make it past the first couple of episodes. A significant factor was the wide-eyed, smiley, cloyingly sunny blonde lead woman (who soured my experience) but the key reason was because it just feels pointless to remake a series and script in the same language when it was good to begin with.

It still holds true. I only have to think of Rose McIver's vacant eyes and fixed grin and I can't even face giving it another go.

Someone suggested looking at the Australian version last night and I went in with an open mind. I like Aussie TV in general, and I feel the sensibilities are closer to British than American tastes, with a preference for grit over gross and an aversion to saccharine. Also, I was curious to see if any familiar faces would crop up, though I suspected (correctly) the chances would be slim with this being a younger cast.

I'll say this for the Aussie version: it feels they've made it their own. Rather than the American method of using younger, more photogenic actors to play analogous ghosts to those played by the British character actors, the Australians go rebelliously off-script by having characters who have some similarities, but are less immediately identifiable. The "human" heirs are pretty clear, as is the Irish maid. But there are some big changes, such as the female ghost in Eighties workout gear. Is the ghost with the freezing breath supposed to be Lady Button, or has that now gone to one of the men? I don't know. One character, I noticed towards episode's end, wore no trousers, which was evidently a nod to the Julian Fawcett character, but everything else about him was different.

Because of this, it does lose some simplicity - the cartoony immediate recognition of each ghost made the British and American versions very accessible - but this is offsetting by each ghost now having a unique "power" which is something new (unless it's come from later episodes of the American adaption). I like that they've put their own stamp on this so it feels slightly less "obvious" as a remake, but I still feel - albeit only based on this one episode - that the Aussie adaption is inferior to the British one. And I still don't entirely see the point of contemporaneously remaking a series that already exists in more or less the same language. Is British English really that difficult to understand to non-Europeans?
 
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