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British Sitcoms and Cultural Implications

Introduction and Background on British Sitcoms

British sitcoms have been widely successful for many decades. Audiences have been able to directly relate to the British characters and the embedded social mores. The sitcoms Fawlty Towers, Keeping up Appearances, and The Office epitomize the British sitcom genre. These shows all share a similar formula with their approach, but British sitcoms have changed over time in terms of content. American culture has influenced British television, and the opposite has been true too. According to one source, “America may feast largely on a diet of homegrown culture, but it imports modestly as well: increasingly with British television” (Oxley). Social structure in society, morals/ethics, and gender roles are some aspects of British culture that are touched upon in British sitcoms. By examining each sitcom, it is apparent that parts of British culture are accurately portrayed in sitcoms while others are distorted.

British sitcoms first came into existence in the 1950s via radio. During this time, the BBC choose to use sitcoms as a means of bringing audiences back to BBC programming as opposed to broadcasts by ITV. In the late 60s and 70s British sitcoms greatly expanded on television programming. This period is often referred to as the ‘Golden Age' of British sitcoms because, in retrospect, more acclaimed sitcoms were produced during this time period than at any other time. A large number of the sitcoms made in the 70s are still regularly aired across the world. More radical and less-traditional comedies were created and forced the 'old fashioned' sitcoms off the screen. New sitcoms created in the 1990s continued the trend set in the 70s, as all broke new ground and, in the process, changed what audiences expected of a 'typical' sitcom. By the start of the year 2000, the popular traditional mainstream mass-watched sitcoms were all but dead. Since then, cult sitcoms have taken over. While these series have been praised for being funny and original, there is no sign of the popular mainstream sitcom making a comeback.

Fawlty Towers, A Radical Change

Fawlty Towers was a hit sitcom that coincided with the ‘Golden Age’ of British sitcoms in the 70s. The series, despite being short, was a radical series that touched upon many issues that had not been touched on in the past, mainly dealing with prejudices. The story focuses around Basil Fawlty, the manager of a hotel, and the eccentric guests that come to stay at his hotel. It features likeable characters that are very realistic. No one is superficial, for these people have no special qualities, yet they are interesting to watch, simply because they remind us of others we know. It is interesting to note that commercial channels, which place much importance on ratings, would never have let a show like this be aired, yet the head of the BBC at the time was willing to experiment with something ‘different’ and was glad that he did! The sitcom shows exactly what real life is like, in that life is filled with unexpected occurrences.

Socially, Basil Fawlty tries to impress everyone. However, the faults of employees and some fairly odd guests complicate the overall success of the hotel. Basil is constantly concerned with how the hotel comes across to people. He wants everything to look good and for guests to want to come back. Basil seems to spend most of his life alternating between trying to impress guests who he perceives as being worthy of his attention. However, after learning that some guests do not quite have the social standing he first thought they had, Basil goes into a frenzy. Basil's problem is that he believes his hotel is a high class establishment worthy of the upper class, rather than the ‘riff-raff’ that he has to endure. The hotel is not all that it appears to be though. The hotel can only afford a small staff of one maid, one waiter/porter, and one chef. Basil’s desperation is apparent, as he makes increasingly hopeless attempts in trying to gain favor with the wealthy. Yet, he finds himself forced to serve and help people he sees as beneath him. In one instance, Basil drives all the way into town to buy a specific meat that a guest wants for dinner, only to return and end up dropping the meat on the floor after bumping into an employee. As such, Basil's efforts tend to be counter-productive with guests leaving the hotel in disgust, and his sanity stretching towards a breaking point.

In terms of morals and ethics, a lot of questionable activity takes place. The quality of the hotel itself is not as great as it appears to be. Guests are made to think that they are getting more for their money than they really are. Additionally, the audience is sent mixed messages when it comes to dealing with foreigners and elderly people. In one episode a group of German tourists stay at the hotel, all while Basil insults them without realizing it. He instructs his staff to not mention ‘the war’ (World War II), for he believes that doing so will upset them. Ironically, after doing this, Basil himself constantly brings up the war without realizing it until after he has said the word. Similarly, Manuel, the waiter, does not speak or understand English well. As a result, Manuel often misunderstands Basil and does something wrong. In one episode, Manuel is put in charge of the front desk, and everything goes wrong. As a result, many customers leave simply out of frustration with him. Manuel often ends up being blamed for anything that goes wrong. A common stereotype against elderly people is also clearly shown in an episode when an elderly woman comes to stay at the hotel. She cannot hear very well, so the employees take advantage of that by mocking her right in front of her. Elderly individuals, despite comprising the majority of the hotel’s cliental, are shown to constantly be exploited for their good nature. Additionally, many of the guests are treated in a rude manner. In one instance, a guest is unhappy with her room and Basil sarcastically says: “What did you expect to see out of a Torquay hotel bedroom window? Sydney Opera House perhaps? The Hanging Gardens of Babylon? Herds of wildebeest sweeping majestically…” (Fawlty Towers)! Basil does not like to have his hotel degraded, but ironically he hurts his own business being rude to guests. At one point he even says: “A satisfied customer, dear…we should have him stuffed” (Fawlty Towers)! Generally, we can laugh at these insults simply because we know that these types of situations really do occur. People can relate with having to deal with someone who is hard of hearing for example, and know that they too can get away with saying almost anything.

In terms of gender, women are shown to be more dependable and powerful than males. Basil, because of his own inner flaws, never ceases to drive people away. He has a very short fuse and has a problem handling guests. However, Cybil, his wife, is much more patient and diplomatic. She easily can calm irate guests down and resolve problems. In one instance where a guest loses money, Basil becomes panicky, but Cybil chooses to just take money out of the register and give it to the guest to pacify them. On the other hand when it comes to Poly the maid, she’s never one to shirk an argument like Basil. Her lack of patience and quick temper often find her engaged in a battle of wits with a guest either in the dining room or at the reception desk. In one situation, she gets into a heated argument with a guest who cannot decide what he wants to order. She never forgets her place in the grander scheme of things though, often relying on subtle quips and one-liners rather than outright displays of insolence. Poly, unlike Cybil, is unable to vocalize openly how much she despises her position. As a ‘co-owner’ of the hotel, Cybil is in a position of power, but Poly as an employee can do little in terms of rebel without facing repercussions. Ironically, despite all his power, Basil is terrified of Cybil, his own wife. He wants to stand up to her, but his plans frequently conflict with her desires. In one episode, Basil tries to hide the fact that he has gambled on horse racing. In the end when Cybil does find out his secret, she gives him an earful and makes him give up the money. She is often verbally abusive towards him such is evident when Cybil describes him as "an ageing stick insect” (Fawlty Towers).

Fawlty Towers is a series that people can still relate to today. This has been proven by a recent poll that was conducted in 2004. People were able to vote for their top favorite British sitcoms of all time, and Fawlty Towers, ended up in fourth place out of a hundred. The show leaves a heavy impression on people simply because a lot goes on in a relatively small number of episodes. The members of the staff at the hotel can be related with. They go through day to day life doing mundane work, but their presences in the hotel add excitement. Manuel constantly drives Basil to act irrationally and makes Basil look like a fool. Manuel’s poor understanding of English creates a communication barrier, and Basil often loses his temper when trying to get Manuel to understand something. Poly is a fairly easy character to relate to, in that she is an aspiring student that cannot fulfill her dreams because of her position. She needs money, and has to work in order to support herself. Socially, these people act in ways that any normal person would. When people are under stress in the workforce, they do tend to lash out at others. Misunderstandings are also part of everyday life. It is very easy to misinterpret something and then blow something out of proportion. Also, when it comes to gender, women are shown in a fairly modern way. Neither Poly nor Cybil are domestic goddesses by any means. Both work to earn a living and are not dependant on men. They enjoy the freedom of being able to work outside of the household. However, the limit of job availability for women is evident with Poly’s position, which was likely true in the 70s. Poly would rather have continued her education at a university, but her status as a woman and lack of money curtailed her college career. She is highly educated though, as she is shown to have knowledge of multiple languages and is quite good at art. Like many women in the 70s, college was a privilege and not something all were able to attend.

Morally and ethically, the show is not one that completely reflects British society. Foreigners are not constantly scoffed at and ridiculed for not knowing English. I do believe that all the stereotypes that are shown in the series do exist within British society, however, most people are not as outspoken with them. I believe that Fawlty Towers, makes a point to show that we all have prejudices whether we want to accept it or not. The show exaggerates certain stereotypes, however, a message is sent directly to viewers. It encourages people to be more tolerant of others and realize that everyone has their flaws. Additionally, I do believe that Basil’s great British pride is something that is accurately portrayed. The British are proud of their heritage and are generally proud of their nation’s triumphs over the years. I think this point is true with all people. For the most part, we are proud of our own culture as well. We often resist having values of other cultures thrust on us, because we are not used to foreign ideas.

Basil and the Germans - Fawlty Towers









Communication Problems and Beyond - Fawlty Towers

Keeping up Appearances...or at Least Trying to

The sitcom Keeping up Appearances, has been very successful and can still be seen regularly airing on PBS. The series is claimed to be “one of the finest British sitcoms of the last decade or so. It is a smartly-written satire of snobbery that was a huge hit in Britain, and proved equally popular in North America when it popped up on PBS several years later” (Corupe). The plot focuses on the exploits of Hyacinth Bucket, who insists her surname is pronounced Bouquet. Her goal in life is to impress neighbors, friends and ‘important people’ in an attempt to come across as a member of ‘high class society.’ However, her plans to impress others always backfire. Members of her family and occurrences of daily life are usually the cause of her plans going awry. “Social class humor has never really found a home in American sitcoms, but it's at the very heart of British farce, which has always featured self-important protagonists that are invariably taken down a few pegs over the course of an episode” (Corupe). People can laugh at Hyacinth’s blunders simply because she comes across as an extravagant woman who goes to great lengths to come across as an ‘important person’ in ways that are often ridiculous. In one instance, she attempts to buy a Mercedes so that she can appear rich, even though there is no way her husband Richard’s salary can afford the car. Through the sitcom, a very realistic message is conveyed to the audience.

One realistic message of Keeping up Appearances is that status is not everything. Three distinctive socioeconomic classes are shown in the series. Hyacinth belongs to the middle class along with Richard. They live in an average home, drive an average car, and have ordinary possessions. However, Hyacinth tries to make it appear as though she is a member of the upper class. For example, she tries to convince others that her china set is one of a kind and is hand painted. Similarly, she constantly refers to her phone as a ‘pearl white slim line with last number redial telephone.’ She clearly tries to make her life appear more extravagant than it really is. This reflects her inherent boredom as a housewife. With little to do during the day, she focuses much of her attention on her home. She wants people “to walk into her home and stagger back in admiration” (Keeping up Appearances). Hyacinth yearns to be the center of attention. One of Hyacinth’s three sisters, Violet, is part of the aristocracy. Violet’s husband has a high paying job and they live in a mansion. Hyacinth often brags to others about having a wealthy sister, but people get tired of hearing from Hyacinth say: “You remember Violet, she’s the one with the mansion, her own Mercedes, and room for a pony” (Keeping up Appearances)! Hyacinth’s sister’s position seems meaningless after a while. Hyacinth’s two other sisters, Daisy and Rose, as well as Daisy’s husband Onslow live together in a derelict home. Their home is always shown to be in a state of clutter. There is a broken down car that sits in front of the house, the kitchen is covered in grime, and the living room is filled with junk. Hyacinth, to say the least, is embarrassed by her sisters’ lifestyles. She often tries to hide the fact that she is even related to them. In once instance, Hyacinth and Richard end up visiting an estate at the same time as her sisters, and Hyacinth and Richard proceed to hide behind bushes and in ditches just to avoid being seen by them. Hyacinth tries to distance herself from her two ‘poor’ sisters while she tries to act close to her ‘wealthy’ sister.

Ironically, members of the lower class of society actually enjoy life more than those in the upper class. The use of satire shows that the upper class of society may have money, but life for them is anything but pleasant. Violet’s husband is sometimes suspected of cheating on her, and he is suspected of cross dressing. Often, heated arguments erupt between the couple and a talk of getting a divorce is not unusual. Hyacinth tries to ignore these shortcomings and encourages her sister to stay with her husband. In one episode she states: “Violet, you can’t walk out on anything as solid, sober, and respectable as your own Mercedes” (Keeping up Appearances)! Violet is always shown to be upset and complaining about something. On the other hand, Daisy and Rose, despite living just above the poverty level, enjoy life. Daisy enjoys spending time with Onslow watching television or going out with him. Rose, a promiscuous woman, tries to attract the attention of men everywhere as she parades around in skimpy outfits. Hyacinth herself wastes much of her time trying to stand out in society. As a result, her life is filled with stress and constant paranoia. On the outside though, she is a pleasant housewife, but those who know her true nature, know that she is very pushy and loves to try and be a part of every social event in town! Overall, members of the lower class appear to appreciate the little that they have and try to make the best of their situation.

Keeping up Appearances conveys a strong sense regarding differences between classes with respect to consumerism. Buying newer and better products is often shown to be the right thing to do. Hyacinth frequently buys products simply because of a crest on the package or because it is name brand. Even when it comes to clothes, she refuses to dress commonly. She only wears high end clothing, usually a dress. In a sense, Hyacinth validates the position of a housewife. At home, she tries to make her home as impeccable as possible. She is always polishing something, whether it is the telephone or a basket of plastic fruit! Whenever someone comes over, she wants them to recognize how perfect her home is. In terms of buying new, an episode focusing on Hyacinth buying a new sofa epitomizes consumerism. She refers to her original sofa as being old and not up to par with newer furniture. Hyacinth wants a new sofa no matter what. Hyacinth is “the worst kind of materialist yet she talks about values all the time…there’s a nice piece of English hypocrisy for you” (Routlege)! Family values are supposedly regarded as more important than material possessions in Great Britain. Families that are often wealthy do not walk around boasting about their money!

Gender roles take on an interesting position in Keeping up Appearances. In some instances, females are shown to take on a dominant role making decisions, while in others they are shown to be submissive. In the case of Hyacinth, she is in charge and Richard has no control over her in terms of spending or anything. Whenever Richard does attempt to criticize her ‘aristocratic spending’ she often says something along the lines of Richard being to blame for not having enough money. Hyacinth runs the household with an iron fist and does punish those who violate the rules. An example of this behavior is shown when Hyacinth invites her neighbor Liz over for coffee, and makes sure that Liz wipes her feet thoroughly or makes her remove her shoes before stepping foot on her floor. On the other hand, some female characters like Daisy, do not mind following their husbands lead. Daisy often does not get out of bed until Onslow does and even brings him food whenever he wants some.

Overall, Keeping up Appearances, is a show that does emulate British culture fairly accurately. Some people argue that scientists say that “we are hard-wired to care about social status” (Derbyshire). This is a very true statement, for at one point or another we all want to come across as someone that we are not. When we do not want people to see some aspect of our life, we try to hide it as best as we can or just never mention it. I also believe that it true that sometimes the people who are the least fortunate in terms of money are happier than those with a lot of money. When you have just enough to get by on, you appreciate everything you get from the people around you. Members of the upper class sometimes have a problem with maintaining their image. They often feel the need to ‘keep up with the Jones’’ and so they are often under pressure. For example, Hyacinth, after hearing about one of her neighbors going abroad for a month, decides to try and convince everyone that she will be going on a cruise on the QEII. However, her plan is to deceive others by just showing them brochures advertising the vacation, and not really going anywhere. Hyacinth never has any qualms about lying if it means that she can appear as ‘important.’

With a show as realistic as this, it is also easy for people to develop para-social relationships. A character like Liz for example, is one that many people may feel a strong bond with. She constantly is subjected to being part of Hyacinth’s ploys, yet she manages to always persevere and make the best of life. Many personal letters have been reportedly written to cast members too. All of the tv personalities reflect actual people that we all probably know. Additionally, I found it surprising in one interview to find that some people say shows like this make it easier to deal with troubles in real life. Patricia Routledge, who plays Hyacinth, states “The program put things in prospective for her and made her feel much better about things…that made me realize that the business of entertainment is very important” (Routlege). When it comes to people suffering from terminal illnesses or a person just having a bad day, switching on the television to find something like Keeping up Appearances can be therapeutic. This show, unlike many sitcoms today, is not vulgar and the characters are charming. Additionally, I feel that the setting, being in England, adds a sense of escapism for viewers outside of England. By seeing a place that is culturally different, we become interested in that society, and temporarily feel as if we are part of that society.

Once a Consumer Always a Consumer - Keeping up Appearances





Hyacinth on the Run from the Family - Keeping up Appearances








Unexpected Visitors - Keeping up Appearances





Hyacinth is in Control - Keeping up Appearances

Cultural Implications of 'The Office'

The Office is a recent British sitcom that is probably an easier sitcom for individuals to relate to. The series has been one of the most popular sitcoms. The show features a large cast of employees who work for a paper supply company. At the center of the company is David Brent, the ‘boss.’ As with many of the main characters in British sitcoms, he is a bit pompous. He is a slacker to say the least and often gets himself in trouble with what he says. Like previously mentioned main characters, David is out to impress his employees. He wants to be respected by all, but he often tries too hard and looks like a fool. Out of the three series, The Office, manages to take British sitcoms into uncharted waters by taking some big risks material wise. A lot of controversial material appears on the show, yet the show is widely appealing. For example, many rather graphic sexual jokes are told.

The Office presents some very questionable morals and ethics. David clearly is a man of loose morals. He constantly makes advances towards his female employees, has a bit of a drinking problem, and does nothing to resolve conflicts between employees. In a sense, the workplace is like a playground for adults in this series. In one instance, two workers, Tim and Gareth, get into a fight over a stapler, which results in Gareth chasing Tim around the office so he can get his stapler back. It appears as though not much work really does get done. Employees usually are playing jokes on one another or just gossiping. No one is ever condoned for not doing their work. Instead, David sometimes joins the ‘fun.’ Additionally, when it comes to diversity in the work place, David can be outright prejudice against others that are ‘different.’ In one instance David says, “Well, at least the handicapped fella is able-minded. Unless he's not. It's difficult to tell with them wheelchair ones” (The Office). When it comes to the disabled, David can be cruel. In one instance, a female employee who is wheelchair bound is left in the stairwell during a fire drill all alone. David does not think it is worth all the effort to bother carrying her all the way outside. With workers of other ethnicities, David tries to cover up his racism with witty remarks. The audience can clearly see that he just has to hire people other than whites to fulfill a certain quota. However, David himself is not cognizant of his own racism. At one point he states, “I haven't got a sign on the door that says white people only. I don't care if you're black, brown or yellow - you know, Orientals make very good workers” (The Office). David even lies just to try and seem like he accepts all people. He tells one black employee that his favorite actor of all time is Sidney Poitier, a clear lie.

Above all, The Office is quite different from earlier sitcoms in that it heavily relies on sexuality as part of the show’s appeal. Much humor revolves around sexual innuendos and lewdness. In one particular scene, everyone from the company goes out to a club at night and much promiscuity occurs. Earlier sitcoms would never have included such scenes. Co-workers are shown to be letting loose in ways that many people often do outside of work. Many office workers enjoy time off by going out and drinking or sitting around talking about almost anything. This is something appealing for audiences because it is very realistic. Sitcoms cannot just focus on nuclear families. Different types of families exist, whether people in them are related or not seems a bit irrelevant today. All of the members of the paper company are much like any dysfunctional family.

Women and men do not appear to be equal on The Office. Female employees are looked upon as inferior by many males on the staff, such as by David, but there are some very powerful women on the show. Jennifer, one of the higher ups, clearly instills a sense of fear in David. She is an all business woman who does not put up with David’s antics. Donna, an intern, is another powerful woman who shows that she can use her sex appeal to climb the social ladder. Unlike Jennifer, Donna clearly lacks experience, but Donna is tactful with her words and soft-spoken. There are sexual tensions between people, particularly between Dawn, the receptionist, and some male characters. Dawn is engaged yet she is constantly tempted. She never does give in to others though, for she remains faithful. In the office though, we do see numerous relationships come and go, as many do in real life.

The Office is a show that is easy to relate with. One reviewer states that “there is something profoundly raw about this workplace comedy hatched by Gervais and Merchant: it has an identifiable current that rings eerily true to our day-to-day lives, and the only reason why the show’s many awkward moments are so painful to watch is because we’ve all been in similar situations countless times before” (Sawdey). Characters willingly acknowledge the presence of cameras scattered about, making the realism heighten to an almost painful degree. This works in favor of the show’s comedic and dramatic moments in equal measure. Listening to Brent crack a joke like “My parents owned a paper shop ... until it blew away” (The Office) seems absurd, but the excruciating part is when you see an employee stare directly at the camera lens. They are often unsure whether to go along with the joke or stare ahead as if nothing is being said at all. Even though Brent’s humor is questionable, we are inclined to laugh not at his jokes, but at the realistic responses of others.

How 'The Office' Embraces the Disabled

The 'Two Offices'

When comparing The Office to its American counterpart, it is evident that both shows standout in their own ways. The British version features humor that is much more risky. The American version features humor that is more or less what Americans are used to. We see people do strange or silly things and we laugh at them. When it comes to Americans enjoying the British version, it is hard to say what people will think. I think that many people will probably enjoy the American version better because it features elements that people are accustomed to. “The greatest testament to the American version is its accessibility, which appealed to the masses and grumpy critics alike. Writers built the show primarily by creating characters we know from our own office experiences” (Green). The British version, despite being the original, features jokes that only those with an understanding of British culture will fully understand.

Both versions take different approaches to conveying similar ideas. While both shows focus on a ‘real’ office setting, the type of programs being filmed is different. The British version seems to be like a documentary about the paper supply company. The American version is more of a reality TV show that follows the lives of the people working. This may not seem like a big difference, but it adds an element of drama to the British show that is often missing from the American version. In another respect, American viewers of The Office expect crazy pranks to occur, such as when Michael leads an ‘invasion’ on another branch of the paper supply company in order to steal a copy machine. The British version has more subtle humor. Employees at the paper supply company are faced with the crushing depression of being in ‘dead end jobs.’ This is something the NBC show quickly moved to the back burner following the pilot episode. The first episodes of the British and American versions are virtually the same: the boss pretends to fire the receptionist for stealing post-its and someone puts a stapler in jello. However, I think that Americans wanted more action, which is why future episodes were quite different from the original British version. People wanted more things to happen and not something that just appeared to be documentary styled.

Acceptance is Key - The Office






All Fun and No Work at The Office

A Cultural Exchange and The Evolution of the British Sitcom

Some American influences are responsible for change, as well as changes within British society itself. Within British society, there has been a change in the demands of what viewers wanted. Media companies try to give people what they want. “Right before the turn of the millennium, a small but noticeable shift was occurring in British TV, and it was most certainly not being shown on BBC1. A small batch of unrelated shows began emerging that were written by and directed towards the youth of the British middle-class” (Sawdey). A new generation of directors began to emerge and they knew what people wanted. The middle class has been the main target audience because they simply are the people who watch the most television.

America has borrowed certain concepts, such as with The Office, but the show took a while to catch on. The show was a sensation in the UK, and when Greg Daniels’ American version was aired, it did not do so well at first. One reviewer claims that “Perhaps I am just a silly American who loves to hear British accents, but everything these people say is made funnier by how they say it. The American version that is unfortunately on its way will certainly fail, even if the words are recited verbatim” (Cale). I believe this idea stems from the belief that nothing can beat an original work. Many times remakes of a show do not come out as well as the original, because they just appear to be carbon copies. However, in all fairness, the American version is not identical to the British version. The cultural jokes of the British version are replaced with jokes that Americans will understand. Additional influence of British sitcoms can be in the creation of the BBC America. “BBC America's programming pushes the boundaries to deliver high quality, highly addictive and eminently watchable programming to viewers who demand more” (BBC America). The creation of this station exemplifies an increased demand for British television. The opposite has been true to, where many American sitcoms like Seinfeld have been brought over to British audiences. Overall, I would argue that there has been a relatively equal exchange in terms of media material between the US and Britain.

British sitcoms have progressed with changing times in society. Fawlty Towers follows the classic sitcom format featuring a set of characters that are stuck together in a situation from which they cannot escape, usually family or work. During the course of an episode events will occur that might disrupt or cause difficulties to this status quo, but by the end we are always back where we started. In the 1990s, the genre was reinvigorated with sitcoms like Keeping up Appearances. The shows succeeded by adding a bit more of a creative flair to the traditional sitcoms. It pursues laughs through realism of their characters rather than jokes or plot. Sitcoms now reflect the viewer's different experience of the media; no longer does television have a privileged position, but seems part of everyday life. Around the start of the new millennium, British sitcoms chose to take on controversial material by dealing with racism and prejudices more heavily. Sitcoms have had an important influence on British life. They have made us think about ourselves by making us laugh at our own absurdity. Good sitcoms are a kind of virtual reality, for they reflect the rhythms of everyday life, the pain of the human condition and, of course, the joy of laughter.

The Formula for a British Sitcom

Hyacinth and her 'Predicaments'

Generally, there does appear to be a certain formula which most British sitcoms do follow through with. Each sitcom has a central character that is eccentric or very flamboyant in some way that makes us hardly believe what we are witnessing. The shocking behavior, from Basil Fawtly’s hot temper to Hyacinth Bucket’s extravagance, is appealing to us though. Audiences are lured in by these unusual characters and can easily laugh when mishaps occur for the main characters. However, we love these types of characters because they are interesting. I think the reason why we can relate to these eccentric main characters is well put by Patricia Routledge. She states, "Perhaps it's because there is someone like Hyacinth in every family” (Routlege). In reality, we all have at least one person we know that is like one of these major figures. They have their ways, but we still sympathize with them. The supporting characters are characters that are readily relatable to people. Many series feature normal everyday people that are very ordinary. They all have their good points and bad points like all of us. The sitcoms also focus on points that are relevant to society. They try to portray an image of society that is realistic, yet fabricated to a certain degree. The reason for fabrication is that we would otherwise get bored. When watching a sitcom, we do want to be entertained.

Success of British Sitcoms

The overall success of each series does not relate to their length. Surprisingly, I found that for all of the series that I looked at, each one ended because either the leads no longer wanted to continue with the show or it was felt that the show could not be taken any further. After a while, if a show does run on for a very long period of time, it will become more likely that viewers will get bored with the show. When a show has a limited number of episodes, we can get a better idea of what is going on, and do not have to worry about getting lost somewhere along the line. For example, in the American version of The Office, there are over eighty episodes, whereas the British made only fourteen. I think it would be much easier to view episode five of the British version and get a good idea of what’s going on, as opposed to viewing the 40^th episode in the American version alone. However, I feel that each series did have a satisfactory ending. Most of the episodes of British sitcoms can stand alone.
British sitcoms also heavily rely on subliminal messages with humor that are quick and to the point. It is very easy to miss humorous moments in British sitcoms, especially if you are not familiar with certain cultural terms. After watching a few sitcoms however, it becomes easier to understand certain humor that often is overlooked by foreign audiences. British sitcoms are undoubtedly clever in terms of execution. Now, the market is flooded with British sitcoms, mainly with what is referred to as cult sitcoms. These types of sitcoms generally are aimed at specific target audiences, and as result, usually do not get optimal ratings. However, many cult sitcoms, like The Office, are very entertaining. Everyone can probably find at least one British sitcom that they would enjoy and also one American one as well.

Works Cited

Works Cited

Cale, Matt. "The Office UK.” http://www.ruthlessreviews.com/. 20 April 2009.

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Corupe, Paul. "DVD Verdict Review- Keeping Up Appearances.” http://www.dvdverdict.com/. 19 April 2009.

< http://www.dvdverdict.com/reviews/kuafullbouquet.php>.

Derbyshire, David. “Keeping up appearances: Scientists say we are 'hard-wired' to care about social status.” http://www.dailymail.co.uk/home/index.html. 21 April 2009. <http://www.dailymail.co.uk/sciencetech/article-1016653/Keeping-appearances-Scientists-say-hard-wired-care-social-status.html>.

"Fawlty Towers – A Television Heaven Review.” http://www.televisionheaven.co.uk/.

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Fawlty Towers. Dir. John Cleese. Perf. John Cleese, Connie Booth, and Andrew Sachs. DVD. BBC Video, 2001.

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