- Wed Dec 04, 2013 3:18 pm
The interesting thing being that there was probably a harder edge and more 'reality' in The Good Life or The Fall and Rise of Reginald Perrin than in many modern sitcoms. Miranda, Not Going Out - they're stuck in a sort of nebulous warp space bearing no resemblance to reality at all. They can't appeal to your Inbetweeners audience, and really seem to be loose structures to hang jokes on. Whenever they touch on more 'adult' matter (take for example the Not Going Out episode with the porn film), they're so hamstrung by the plot and the medium (time slot and channel) that the result comes across as looking incredibly prissy and dancing round the subject matter.
Yes, I agree that it's the fate of all iconoclasts to eventually become part of the establishment they're railing against - that or exit stage left a bit early. People get older, subconsciously self-edit (see Amanda Platell recently, holding up Python as an example of 'good clean fun' comedy, clearly missing all the F-strikes, over the top violence and nudity and just remembering the silly walks), and let the nostalgia filter slip into place.
I read something on Cracked that said (this was in relation to films, but it applied equally to TV) that part of the problem was that commissioning editors increasingly view programmes as a vehicle. Star X is popular, so let's find something for them to do. So scripts get tailored to the star, rather than 'Here's a good script, let's find someone to star in it'.
"There ain't nothing you fear more than a bad headline, is there? You'd rather live in shit than let the world see you work a shovel."