Now, I don't want to make sweeping generalizations, but the problem with British television is that all producers and commissioners are rah-rah posho's who went to the same public schools and universities and never actually
watched television in their youth, unless it happened to be from horseback, as they chased foxes down country lanes and accidentally caught a glimpse through one of their gamekeepers' net-curtained cottage windows.
In fact, most producers and commissioners wanted to go into publishing, and still do, but are waiting for the pay to get a bit better.
Because of this, kitchen-sink realism (a la Cathy Come Home) has bestrodden* British television like Galactacus over the Baxter Building, as television people seek to cover the embarrassing combination of a) creating stuff that none of their friends watch and b) enormous pay packets, by occasionally making telly in which poor people will see a reflection of their own lives, god help them. Not that this didn't make for some bloody good telly: when Eastenders started it was written by your actual market stall holders, and cockle farmers, and, I don't know, pearly kings probably, and so managed to reflect a trace of the what I will grudgingly refer to as 'cockney wit'. Now of course, Eastenders is written by fifteen teenagers in a shed, who are only allowed to watch videos of older episodes of Eastenders, and the whole sorry shame spiral continues.
There's a similar thing happening in comics. The reason Alan Moore, Grant Morrison and Mark Millar are so bleedin' good is that they draw on a ridiculously eclectic range of sources, from pirate comics, to magickal traditions, to pop music and so on. Whereas we're now getting a new crop of comics writers whose main influences are... Alan Moore, Grant Morrison and Mark Millar. And it doesn't work as well.
The reason I'm banging on about comics is because to
some posho, jodphur-wearing upper-level telly types, popular culture is something only common people have opinions about. And while I'm being a bit silly in most of this post, I'm deadly serious about that. To have any kind of enthusiasm for say, comics, or genre literature, or, god forbid, genre television is, to these people, akin to, and I quote that great cultural shibboleth, the movie 'Mannequin': running around naked with a rubber glove on your head shouting 'Hi, I'm a squid!'. The idea that one could like, say, Buffy the Vampire Slayer
and Jane Austen and see how the latter informs the former is simply too weird and silly and 'Hi I'm a squid'-shaped to fit in their heads.
And then the new Doctor Who got bleedin'
massive ratings, and Life On Mars got glowing critical reviews, and it became apparent that silly programmes with aliens, and time travel, and people shouting 'look out!' could do very well indeed, particularly when you put telefantasy and kitchen sink realism in a bag and shook them up, so that John Simm got to see the beginnings of football hooliganism that would eventually lead to deaths on the terraces of Haysel and Hillsborough, and the Doctor had to scuffle about a bit on an early twenty-first century London housing estate.
All of which is leading up to the fact that I've recently had some meetings with producers and commissioners in which I got to wax enthusiastic about smart popular telly like Buffy, and Veronica Mars, and The O.C, and the new Battlestar Galactica, and the people I was talking to not only knew what I was talking about, but shyly and in a low voice admitted that they watched the same programmes and loved them, and wanted to see more programmes like them, but like British and that. Which made me realise two scary things:
1. My whole 'producers and commissioners are all rah-rah posho's who despise popular culture' is possibly a bit simplistic, and might have to be rethought, although it's a nice opening for a blog post, so not entirely wasted, and,
2. After years and years of banging on about how I want to write genre stuff for telly that's a little bit comedy, a little bit drama and totally influenced by all the fantastic stuff going on in the States (and the more Moffatty episodes of the New Who), but how I'm being held back by the all the rah-rah posho's who despise.... etc, it might be time to put my money where my big fat blogging mouth was, as t'were.
Eek.
* Shh.
UPDATE: Just to be clear, all the producers and commissioners I've ever worked with have been
lovely.
Writers tend to divide P's and C's into two groups: 'Good' and 'Evil'. 'Good' P's and C's are those who have given the writer money in the last few months. 'Evil' P's and C's haven't, and can therefore be written off as narrow-minded cultural snobs born with a silver spoon in their mouths and an unfathomable hatred of all writers. Until that is, they give a writer some money, and are thus instantly elevated to the status of wholly admirable and 'Good' P's and C's.
You've got to have a system.