That Wacky Redhead

[phx1138]

I think the song title is actually if you could read my mind, paperback hero was just the name of the movie it was later used in.

In my defense, I associate it with the movie so much, I always get the title wrong. Trade you...

IBy the way I love that song great lyrics!

Me, too. My fave of his.

 

[Brainbin]

I've gradually been adding information about the facts and figures of this timeline to the Wiki page, ideally to have it serve as my primary reference for when I start work on the Finished Timeline version of That Wacky Redhead. You're all welcome to contribute; at some point, it looks like I'll have to split everything into sub-pages...

It wasn't until years later I came back to it via the internet and found out how funny the US version was: it's because of that same cultural dissonance, most Britons can't get past the fact that the audience scream and yell as soon as anyone gets up off their chairs, it makes them sound like demented lunatics to our ear and casts a bit of a shadow over the whole proceedings. But if you can get past that, then you realise how brilliant the humour can be.

I watched the show during its original run, and found it hilarious even then - though I was much younger, too much so to appreciate its more sophisticated humour - for example, I used to find the Wayne showcases tedious, and the preceding Ryan-Colin patter perfunctory. Can you imagine?! So internet rediscovery helped me, too.

Where it benefits over the British version is, strangely, the more limited cast--it means that they gain more experience working together and eventually everyone develops the same rapport that Colin and Ryan already had from their longstanding double act. And from that, you can have things like Party Quirks and Let's Make A Date where the quirk is much, much more complex than it was in the UK version, and yet still have a good chance of the players being able to identify it, just because they know each other so much better.

Having seen the British version (it is, or at least was, shown alongside the American version in syndication), I definitely agree with your assessment. Later seasons of the British Whose Line feel a lot more organic and assertive than the early seasons (which are also hampered by John Sessions, who was painfully unfunny - I understand he's done better elsewhere, and I should hope so), once they narrowed it down to the same half-dozen or so regulars. Other than those who moved on to the American version, I only felt that same "spark" from a handful of performers, who fortunately became mainstays: Mike, Tony, and Josie are particular standouts. They really brought that same no-holds-barred, anarchic spirit to the show. Of course, we also got to see those American performers (Colin in particular) really mature into brilliant comedians.

I suppose the upshot is not to be too judgemental about these things: I think our media is too quick to assume American adaptations always ruin everything. One slightly strange example of this is, when they briefly imported US Whose Line as mentioned above, I remember the TV guide claimed disparagingly that they had Americanised it by having separate teams with team captains who actually competed for points that meant something, because Americans have devil-take-the-hindmost competition as their 'hat' so much that they can't grasp the concept of the points not mattering. Of course, anyone who's actually watched US Whose Line knows that all of that is bollocks and in fact Drew Carey makes a signature line out of saying that the points don't matter. So I think sometimes we rush to judgement about these things and perhaps lose out on some gems that way.

Now that is a really fascinating story, and I want to thank you for sharing it. Because, in fact, the American version somehow cares even less about the points than the British version does (or at the very least, Clive does a much better job of pretending that he's paying the least bit attention to the points). With regards to American adaptations, I can understand weariness on the part of the British media: the US has produced some real clunkers (Coupling immediately springs to mind, as does the lack of a successful Fawlty Towers adaptation - though not for lack of trying), despite some smash successes (All in the Family, obviously, along with Sanford and Son and Three's Company, though its spinoffs definitely belong in the "reject" pile), and even managing to turn around an initial disaster (The Office); but blatant lies like that don't help anyone's case.

The Redhead and the Redshirts ?

That's actually a really good title If I ever divided this timeline into "parts", then that would be the ideal title for Part I.

Hell, I can't even do that. (Let's see... The Queen, The Queen... Bluenose...)

On bills: Laurier, MacDonald, HM The Queen, King, Borden; on coins: maple leaf, beaver, Bluenose, caribou, loon, polar bear (with HM The Queen on the reverse of all of these).

(That's not counting the 50-cent piece, because nobody counts that I think it's the Coat of Arms?)

You suppose CanCon has something to do with it...? I wouldn't be the least surprised.

No doubt about it! Reality game shows are cheap, and they're a very easy way to fulfill CanCon requirements.

I never got that sense... And given the typical NYPD precinct captain's office wasn't in the squad... Ah, well.

On all versions of Law & Order (another "realistic" cop show), the Captain's (or Lieutenant's) office is always located in the squad room.

I'm curious to see just how changed it is. Especially to know if I'd have like TTL's version better.

Yes, there will be an entire *Adama's Ark update in the next cycle. Otherwise I would probably face a riot

I've begun writing the next update, which I hope to have ready in the next few days. Drinking Game participants, have your shots ready: it's about the Muppets!

 

[phx1138]

On bills: Laurier, MacDonald, HM The Queen, King, Borden; on coins: maple leaf, beaver, Bluenose, caribou, loon, polar bear (with HM The Queen on the reverse of all of these).

Showoff.

(That's not counting the 50-cent piece, because nobody counts that I think it's the Coat of Arms?)

Counts it? I've never even seen one...

No doubt about it! Reality game shows are cheap, and they're a very easy way to fulfill CanCon requirements.

On all versions of Law & Order (another "realistic" cop show), the Captain's (or Lieutenant's) office is always located in the squad room.

I'm relying on "NYPD Blue", here, which had an actual ex-NYPD detective on staff. It may be there were show structure issues...

Otherwise I would probably face a riot

Call The Doctor? Or sacrifice a redshirt?

 

[Thande]

Of course, we also got to see those American performers (Colin in particular) really mature into brilliant comedians.

I assume by American you mean people most known for appearing on the American version of the show, because who could forget that Colin was Canadian? (Ryan even constantly brought it up on the British version, where the audience often didn't get half the jokes because Canada doesn't have much of a distinctive stereotype in the British imagination).

Because, in fact, the American version somehow cares even less about the points than the British version does (or at the very least, Clive does a much better job of pretending that he's paying the least bit attention to the points).

I think this may be because the points not mattering is perhaps more of a novelty in the US (the grain of truth in that TV guide nonsense I mentioned above) so Carey makes more of a point about emphasising it, whereas there are plenty of radio and TV panel games in the UK where points are only vaguely relevant and sometimes as irrelevant as on WLIIA. I believe the joke originally arose on these programmes due to editing for broadcast from a two-hour show down to a half-hour broadcast (typically) so the connection was lost between the rounds you saw on-screen and the final score (which incorporated the scores from the rounds you didn't see), and it all went from there. WLIIA just ran with it.

On bills: Laurier, MacDonald, HM The Queen, King, Borden; on coins: maple leaf, beaver, Bluenose, caribou, loon, polar bear (with HM The Queen on the reverse of all of these).

Somewhat tangenitally related: are you aware of the programme Who Do You Think You Are?, which follows celebrities (sometimes for a given value of 'celebrity', but you get the point) as they trace their family trees? I believe there's an American version now produced by Lisa Kudrow. Anyway, one of them was about well-known (in the UK) breakfast presenter Richard Madeley, who turns out (I had no idea) to have a Canadian mother, and he spent most of the programme in Canada. At one point he goes to Nova Scotia (IIRC) and one of the genealogists there found out one of his ancestors worked for/with Sir Robert Borden. Madeley asked who that was and the genealogist told him to get out a C$100 bill. His reaction was hilarious because he didn't get it at first and thought he was rather blatantly being mugged on camera

 

[NCW8]

With regards to American adaptations, I can understand weariness on the part of the British media: the US has produced some real clunkers (Coupling immediately springs to mind, as does the lack of a successful Fawlty Towers adaptation - though not for lack of trying), despite some smash successes (All in the Family, obviously, along with Sanford and Son and Three's Company, though its spinoffs definitely belong in the "reject" pile)

Weren't the spinoffs of Three's Company based upon the spinoffs from Man about the House ? The British spinoffs were reasonably successful. George and Mildred ran for five seasons, and only ended due to the sudden death of Yootha Joyce. Robin's Nest ran for six seasons, though IMO it was David Kelly's performance as a one-armed kitchen helper who really carried the show.

When it comes to British adaptions of American sitcoms, the best that can be said is that there haven't been many of them. Brighton Belles (an adaption of The Golden Girls) was cancelled after six episodes because it was so poor.

Cheers,
Nigel.

 

[vultan]

Excellent wiki page for your timeline, Brainbin! Probably the most thorough TL page for this site (aside from Thande's Look to the West.

One extremely minor error I noticed on a political issue- in the results for the 1968 US presidential election, you list Curtis LeMay as an inhabitant of Ohio, whereas I believe he was a resident of California at the time.

Also, I was thinking of how the alternate lyrics to "Sweet Home Alabama" could go in light of the lack of a Watergate scandal in this story. Perhaps something like this for the verse in contention:

In Birmingham they love the Governor (Boo-Boo-Boo!)
Now we all did what we could do
God knows some of us need to atone
He without sin can cast that first stone
It ain't you

Here, they indirectly acknowledge that the South as a whole had sinned in the past in regards to segregation, but still calling out Northerners for perceived hypocrisy in regards to race relations. The line that appears later on, "and the Governor's true", referring to George Wallace again, can be kept for the sake of sarcasm.

Thoughts?

 

[phx1138]

In Birmingham they love the Governor (Boo-Boo-Boo!)
Now we all did what we could do
God knows some of us need to atone
He without sin can cast that first stone
It ain't you

Here, they indirectly acknowledge that the South as a whole had sinned in the past in regards to segregation, but still calling out Northerners for perceived hypocrisy in regards to race relations. The line that appears later on, "and the Governor's true", referring to George Wallace again, can be kept for the sake of sarcasm.

I like the sentiment, but you've got too many syllables. How about this?

In Birmingham they love the Governor (Boo-Boo-Boo!)
Now we all did what we could do
Lord, some for sure need atone
He without sin can cast that stone
It ain't you

 

[Brainbin]

I assume by American you mean people most known for appearing on the American version of the show, because who could forget that Colin was Canadian? (Ryan even constantly brought it up on the British version, where the audience often didn't get half the jokes because Canada doesn't have much of a distinctive stereotype in the British imagination).

How could I possibly not know that Colin is Canadian? I think they brought that up only slightly less often than his baldness (What's funny about Ryan, though, is that he's generally referred to as Canadian himself in the British version - which he is, as he was raised in Vancouver - but never in the American version).

I think this may be because the points not mattering is perhaps more of a novelty in the US (the grain of truth in that TV guide nonsense I mentioned above) so Carey makes more of a point about emphasising it, whereas there are plenty of radio and TV panel games in the UK where points are only vaguely relevant and sometimes as irrelevant as on WLIIA. I believe the joke originally arose on these programmes due to editing for broadcast from a two-hour show down to a half-hour broadcast (typically) so the connection was lost between the rounds you saw on-screen and the final score (which incorporated the scores from the rounds you didn't see), and it all went from there. WLIIA just ran with it.

The American Whose Line was filmed in batches, too - it's how they were able to milk three whole seasons out of it after it had been cancelled. But your mentioning the radio origins (which I did know about beforehand) remind me of a wonderfully subtle point of the show's evolution: in the early British years, virtually all of the games were very verbal and/or vocal, whereas the American series had a strongly visual orientation. Even Wayne, nominally there for his singing ability, was a gifted dancer and physical comedian. I guess that's the strongest thematic/content-related difference between the two shows - although the British series definitely moved away from "televised radio" over time.

Somewhat tangenitally related: are you aware of the programme Who Do You Think You Are?, which follows celebrities (sometimes for a given value of 'celebrity', but you get the point) as they trace their family trees? I believe there's an American version now produced by Lisa Kudrow. Anyway, one of them was about well-known (in the UK) breakfast presenter Richard Madeley, who turns out (I had no idea) to have a Canadian mother, and he spent most of the programme in Canada. At one point he goes to Nova Scotia (IIRC) and one of the genealogists there found out one of his ancestors worked for/with Sir Robert Borden. Madeley asked who that was and the genealogist told him to get out a C$100 bill. His reaction was hilarious because he didn't get it at first and thought he was rather blatantly being mugged on camera

I am familiar with the American version, yes - I'm not sure if I've heard of the British original (another transatlantic adaptation! ). That's a really great story about the man whose ancestor worked for Sir Robert Borden. Nova Scotia makes sense as a destination, as he represented that province in Parliament (in fact, he represented the very same seat - Halifax - that Robert Stanfield would, several decades later). Did he actually have the $100 bill on hand?

Weren't the spinoffs of Three's Company based upon the spinoffs from Man about the House ? The British spinoffs were reasonably successful. George and Mildred ran for five seasons, and only ended due to the sudden death of Yootha Joyce. Robin's Nest ran for six seasons, though IMO it was David Kelly's performance as a one-armed kitchen helper who really carried the show.

The two spinoffs of Three's Company - unimaginatively titled The Ropers and Three's A Crowd - were indeed directly adapted from the two Man About the House spinoffs; although The Ropers launched partway through the run of Three's Company, necessitating their departure from the mother show and replacement by Don "Barney Fife" Knotts as a new "landlord" character (technically the superintendent, as his brother owned the building). The Ropers ran for two seasons, just slightly longer than the "escape" clause in the two actors' contracts which would have allowed them a "parachute" back to Three's Company. Three's A Crowd was cancelled in its first season.

When it comes to British adaptions of American sitcoms, the best that can be said is that there haven't been many of them. Brighton Belles (an adaption of The Golden Girls) was cancelled after six episodes because it was so poor.

I've heard about that one! But yes, you do all seem very happy with direct imports (and how could you Brits ever tire of shows that run for 100+ episodes? ).

Excellent wiki page for your timeline, Brainbin! Probably the most thorough TL page for this site (aside from Thande's Look to the West).

Thank you, vultan! Though it's still very much a work in progress

One extremely minor error I noticed on a political issue- in the results for the 1968 US presidential election, you list Curtis LeMay as an inhabitant of Ohio, whereas I believe he was a resident of California at the time.

Thanks for pointing that out - I'll be sure to correct that.

Also, I was thinking of how the alternate lyrics to "Sweet Home Alabama" could go in light of the lack of a Watergate scandal in this story. Perhaps something like this for the verse in contention:
[...]
Here, they indirectly acknowledge that the South as a whole had sinned in the past in regards to segregation, but still calling out Northerners for perceived hypocrisy in regards to race relations. The line that appears later on, "and the Governor's true", referring to George Wallace again, can be kept for the sake of sarcasm.

I really like your verse! And your justifications, too (which would really strike a chord ITTL). With regards to the later reference to Wallace, I'll have to look at the lyrics (and listen to the song - I only remember the chorus offhand) before I can opine about how it would be different ITTL. But this is certainly a great start!

I like the sentiment, but you've got too many syllables. How about this?

I'll make the final call once I've done the research myself, but thanks for suggesting the alternative. Fitting the meter is imperative

 

[Brainbin]

And now, a very special post to commemorate my grateful appreciation for 100,000 views! Thank you all so much for your patronage!

A word of encouragement to aspiring writers out there, those who have an idea but are too nervous or self-doubting to post it, given the very high caliber of some of the timelines on this site: give it a chance. I made it to 100,000 views in seven months, coming from almost total obscurity on here (I think I had about 44 posts in a little over two months before I started writing), and if I can do it, anybody can, I assure you. Trust me, the people are much nicer than they might seem to lurkers and outsiders. The greatest fringe benefit of writing this timeline has been the friendships that I've formed (The second-greatest has been compliments from writers that I admire.)

 

[The Professor]

And now, a very special post to commemorate my grateful appreciation for 100,000 views! Thank you all so much for your patronage!

So long as you continue to write we'll continue to patronise

Well done for 0.1M views btw!

A word of encouragement to aspiring writers out there, those who have an idea but are too nervous or self-doubting to post it, given the very high caliber of some of the timelines on this site: give it a chance. I made it to 100,000 views in seven months, coming from almost total obscurity on here (I think I had about 44 posts in a little over two months before I started writing), and if I can do it, anybody can, I assure you. Trust me, the people are much nicer than they might seem to lurkers and outsiders. The greatest fringe benefit of writing this timeline has been the friendships that I've formed (The second-greatest has been compliments from writers that I admire.)

SSSH! Don't let that get out. We're all totally scary and fierce to outsiders and newcomers alike ggrrr!

 

[phx1138]

100,000 views!

Way to go, BB.

I'll be here for #200K. (Let's see, that should be August...)

the people are much nicer than they might seem

I think I can speak for all of us: we want it good. When it is, we don't bite.

I don't mind if it's a bit careless, if the creator will listen & correct. (It's the ones who won't listen that make me crazy.) Nor do I mind some handwavium, if the creator says in advance a bit of fiat is in play.

 

[Thande]

Did he actually have the $100 bill on hand?

Yeah, I'm guessing it was an example of how travel agents tend to screw you over by offloading high-denomination banknotes on you and then you're stuck trying to get change for them. I've seen this happen in reverse as well, with European tourists in the UK trying to pay for things with £50 notes their travel agents gave them, and then struggling because 9/10ths of businesses in the UK don't accept £50 notes (and you can go for most of your life without ever seeing one, unless you work in a bank).

But yes, you do all seem very happy with direct imports (and how could you Brits ever tire of shows that run for 100+ episodes? ).

The direct imports thing is more just because America was viewed (not entirely without reason) as a glamorous and luxurious place that people wished they were living in until relatively recently, and the older generations still tend to think that way--most of my parents' generation, who've never actually visited the USA, flat-out refuse to believe that the USA's standard of living has fallen below ours or that the American economy is ever weaker than ours, because it simply does not fit the postwar status quo that Britain was dirt-poor compared to the other side of the Pond, and the change in the standard of living came so fast. But I've discussed this issue a lot on other threads before.

And now, a very special post to commemorate my grateful appreciation for 100,000 views! Thank you all so much for your patronage!

A word of encouragement to aspiring writers out there, those who have an idea but are too nervous or self-doubting to post it, given the very high caliber of some of the timelines on this site: give it a chance. I made it to 100,000 views in seven months, coming from almost total obscurity on here (I think I had about 44 posts in a little over two months before I started writing), and if I can do it, anybody can, I assure you. Trust me, the people are much nicer than they might seem to lurkers and outsiders. The greatest fringe benefit of writing this timeline has been the friendships that I've formed (The second-greatest has been compliments from writers that I admire.)

Congratulations. And I would like to add a special thanks to e of pi for telling me about this TL in the first place.

 

[NCW8]

The two spinoffs of Three's Company - unimaginatively titled The Ropers and Three's A Crowd - were indeed directly adapted from the two Man About the House spinoffs; although The Ropers launched partway through the run of Three's Company, necessitating their departure from the mother show and replacement by Don "Barney Fife" Knotts as a new "landlord" character (technically the superintendent, as his brother owned the building). The Ropers ran for two seasons, just slightly longer than the "escape" clause in the two actors' contracts which would have allowed them a "parachute" back to Three's Company. Three's A Crowd was cancelled in its first season.

I'm not really surprised that The Ropers wasn't a great success. George and Mildred was an invokation of one of the British class-based tropes - working class people trying to become middle class. Steptoe and Son also invoked that trope, but Sanford and Son succeeded by replacing Harold's social pretensions with Fred's get-rich-quick schemes as the main driver of the stories. That sort of transformation is probably the secret of a successful adaption.

I've heard about that one! But yes, you do all seem very happy with direct imports (and how could you Brits ever tire of shows that run for 100+ episodes? ).

Another example would be Married for Life (adapted from Married... With Children), which did a bit better - it lasted a whole season (7 episodes).

I guess that Brits are in the lucky position of generally knowing enough about US culture to appreciate American sitcoms without being too worried about being submerged in it. There are occasional voices raised about the americanisation of British culture, but most Brits don't seem too concerned.

Cheers,
Nigel

 

[Falkenburg]

Congratulations Brainbin. It's good to see excellence doing well.

Falkenburg

 

[Brainbin]

So long as you continue to write we'll continue to patronise

Don't worry, I will. I'm finally forging ahead on the next update, which should be ready soon

Well done for 0.1M views btw!

Thank you!

SSSH! Don't let that get out. We're all totally scary and fierce to outsiders and newcomers alike ggrrr!

I just have the good sense never to mention Sealion or the US Civil War

Way to go, BB.

Thank you, I like your enthusiasm

I'll be here for #200K. (Let's see, that should be August...)

I like your optimism, too

I don't mind if it's a bit careless, if the creator will listen & correct. (It's the ones who won't listen that make me crazy.) Nor do I mind some handwavium, if the creator says in advance a bit of fiat is in play.

I never understood that, myself. Why would you post something on a public forum if you weren't willing to accept criticism?

Yeah, I'm guessing it was an example of how travel agents tend to screw you over by offloading high-denomination banknotes on you and then you're stuck trying to get change for them. I've seen this happen in reverse as well, with European tourists in the UK trying to pay for things with £50 notes their travel agents gave them, and then struggling because 9/10ths of businesses in the UK don't accept £50 notes (and you can go for most of your life without ever seeing one, unless you work in a bank).

Likewise, as you may know from your frequent trips here, many businesses do not accept $50 and $100 bills, either; the highest widely-accepted denomination is $20 (on which Her Majesty appears, fittingly enough; she used to be on the $1 and $2 bills as well, before those were converted into coinage).

The direct imports thing is more just because America was viewed (not entirely without reason) as a glamorous and luxurious place that people wished they were living in until relatively recently, and the older generations still tend to think that way--most of my parents' generation, who've never actually visited the USA, flat-out refuse to believe that the USA's standard of living has fallen below ours or that the American economy is ever weaker than ours, because it simply does not fit the postwar status quo that Britain was dirt-poor compared to the other side of the Pond, and the change in the standard of living came so fast. But I've discussed this issue a lot on other threads before.

Well, if it's any consolation, the same was true in reverse right through the Edwardian Era... which may be why one of my favourite potential PODs (in the far future when TWR is dead and buried) is an exploration of popular culture in a timeline in which the Great War is far less devastating: so many nascent film industries were hobbled, particularly France and Italy, and radio might have turned out very differently if the British Marconi Company were able to pioneer its development as a mass medium, rather than its American offshoot, RCA. It's something that will require a great deal of research, but that was one of the ideas I put aside in favour of That Wacky Redhead, which I hope to revisit.

Congratulations. And I would like to add a special thanks to e of pi for telling me about this TL in the first place.

Well then, by all means, thanks to e of pi! He's already a friend of this timeline

I'm not really surprised that The Ropers wasn't a great success. George and Mildred was an invokation of one of the British class-based tropes - working class people trying to become middle class. Steptoe and Son also invoked that trope, but Sanford and Son succeeded by replacing Harold's social pretensions with Fred's get-rich-quick schemes as the main driver of the stories. That sort of transformation is probably the secret of a successful adaption.

That does seem very true; get-rich-quick schemes are so fundamental to American sitcoms (starting with The Honeymooners; its close sibling, the get-famous-quick scheme, originated on I Love Lucy), and that is an expression of upwardly-mobile aspirations. That said, having read about Man About the House, the Ropers in that version don't appear to have actually owned the building they managed; the Ropers on Three's Company, on the other hand, were clearly well-off, as they could afford a very well-kept apartment building on the beach in Santa Monica (an affluent inner suburb of Los Angeles). Therefore, the main thrust of the plot is the far more generic "look at these characters get their own spinoff for no particular reason" that was so common in the 1970s, whereas George and Mildred does seem to continue their story.

I guess that Brits are in the lucky position of generally knowing enough about US culture to appreciate American sitcoms without being too worried about being submerged in it. There are occasional voices raised about the americanisation of British culture, but most Brits don't seem too concerned.

Those voices of complaint would be instantly silenced if they moved to Canada, let me assure you

Congratulations Brainbin. It's good to see excellence doing well.

Thank you, Falkenburg

 

[Thande]

1910s popular culture AH? Now that would be a great adventure...

While we're on the subject of transatlantic sitcoms, I should really mention "My Family", which is...strange. Apparently the producers said they wanted to try an American-style sitcom made and set in the UK, and they succeeded, but not necessarily how they intended. They used a team of writers rather than one as is usual in the UK, it was a dom com with all the usual stereotypes, family members would drop out and be ruthlessly replaced, it was kept going about ten years after it stopped being funny and everyone was phoning it in, the one funny guy left for a solo career that tanked, etc. etc. They even had a Halloween episode that was first broadcast in April (which is around when we normally see the Halloween episodes of US sitcoms due to the import delay) and a Christmas episode themed around "It's A Wonderful Life", despite the fact that neither of those are cultural touchstones in the UK. About the only way they didn't emulate the US model was in having millions of episodes per series. I'm still not sure how much of that was deliberate, but it was very surreal.

 

[phx1138]

I just have the good sense never to mention Sealion or the US Civil War

You just did. (Throw salt over your shoulder, quick! {Ooooh, you hit the waiter in the eye.})

I like your optimism, too

Hey, hitting 100K so fast doesn't make it unlikely.

I never understood that, myself. Why would you post something on a public forum if you weren't willing to accept criticism?

I can see not changing things, if you've got a strong view of how you want it. (I leave off the occasional deluded dimwit, & I'm sure we all can name at least one.)

I'm that way myself (nor do I take criticism well...)...but even then, if your argument is persuasive enough (& I don't persuade easy, believe me), I'll fix it. And if I'm putting it up here, I take it more like peer review: people who know these things at least as well as me, & often much better.

I read TLs & I very often come across things I'd never have thought to consider, never even considered dealing with, so I take any comment in that vein. And, as I've said, I follow good advice I read somewhere many years ago: get all the advice you can, & if you disagree, ignore it. Just bear in mind the other axiom: somebody always knows the subject better than you. If you're ignoring, you better be doing it for good reason.

There are only two possible explanations for getting it wrong: you are stupid; or, you think your readers are stupid. Guess which reaction is the one you do not want. It's also the one you're most likely to get... (This is a fatal case of Did Not Do the Research....)

Thing is, I've even seen people not even bother to reply....

many businesses do not accept $50 and $100 bills, either

Some of that, in my experience, is because of the need for cash on hand, which makes them targets for theft.

Well, if it's any consolation, the same was true in reverse right through the Edwardian Era... which may be why one of my favourite potential PODs (in the far future when TWR is dead and buried) is an exploration of popular culture in a timeline in which the Great War is far less devastating: so many nascent film industries were hobbled, particularly France and Italy, and radio might have turned out very differently if the British Marconi Company were able to pioneer its development as a mass medium

Count me subscribed already.

...I should really mention "My Family", which is...strange. Apparently the producers said they wanted to try an American-style sitcom made and set in the UK, and they succeeded, but not necessarily how they intended. They used a team of writers rather than one as is usual in the UK, it was a dom com with all the usual stereotypes, family members would drop out and be ruthlessly replaced, it was kept going about ten years after it stopped being funny and everyone was phoning it in, the one funny guy left for a solo career that tanked, etc. etc. They even had a Halloween episode that was first broadcast in April (which is around when we normally see the Halloween episodes of US sitcoms due to the import delay) and a Christmas episode themed around "It's A Wonderful Life", despite the fact that neither of those are cultural touchstones in the UK. About the only way they didn't emulate the US model was in having millions of episodes per series. I'm still not sure how much of that was deliberate, but it was very surreal.

"The Producers" comes true. You wouldn't dare make that up, would you? The more I learn about producers, the more I think we need more insane asylums. (Hmmm...weren't lots of them closed in the '60s...?)

 

[THE OBSERVER]

Please let the next update be about Doctor Who and Tom Baker as the Fourth Doctor.

 

[Brainbin]

1910s popular culture AH? Now that would be a great adventure...

I always thought so. (Though it might start in the 1900s - like I said, search for the perfect POD.)

While we're on the subject of transatlantic sitcoms, I should really mention "My Family", which is...strange. Apparently the producers said they wanted to try an American-style sitcom made and set in the UK, and they succeeded, but not necessarily how they intended. They used a team of writers rather than one as is usual in the UK, it was a dom com with all the usual stereotypes, family members would drop out and be ruthlessly replaced, it was kept going about ten years after it stopped being funny and everyone was phoning it in, the one funny guy left for a solo career that tanked, etc. etc. They even had a Halloween episode that was first broadcast in April (which is around when we normally see the Halloween episodes of US sitcoms due to the import delay) and a Christmas episode themed around "It's A Wonderful Life", despite the fact that neither of those are cultural touchstones in the UK. About the only way they didn't emulate the US model was in having millions of episodes per series. I'm still not sure how much of that was deliberate, but it was very surreal.

I'm actually familiar with My Family, and have been for quite some time (it made the transatlantic crossing early in its run, back when all three kids were still regulars). There's almost an "uncanny valley" affect to it - neither truly "British" nor "American" in tone or sensibilities. The limited number of episodes per season is, without question, the biggest disappointment. The whole reason to have a team of writers is to enable many episodes per season! I Love Lucy had five writers and they churned out 39 episodes in each season, once upon a time. Meanwhile, My Family just barely makes it to 100 overall after a decade of trying? Pathetic.

Hey, hitting 100K so fast doesn't make it unlikely.

Speaking as someone who has monitored this thread's view count throughout its lifespan, there does seem to be a certain threshold, beyond which views are a lot easier to come by, which TWR has now passed. But I still think that 100,000 more in just two months might be pushing it, just a little

I'm that way myself (nor do I take criticism well...)...but even then, if your argument is persuasive enough (& I don't persuade easy, believe me), I'll fix it. And if I'm putting it up here, I take it more like peer review: people who know these things at least as well as me, & often much better.

Have this thread's readers encouraged me to take this timeline in directions I never would have considered otherwise? Absolutely. When I started writing, it was very much an independent project, with a few "marker" ideas on the journey from beginning to end. Things have firmed up a lot more since then, thanks in large part to my consultants; I certainly never expected to have those either! That's another thing you can thank e of pi for. When he solicited me to help him with Eyes Turned Skywards (and he and truth is life are still working very hard on the next section of that, by the way!), I wisely sought the opportunity to have him help me clarify some vague ideas I had about the space program, which eventually resulted in this post (one of the best of this timeline, if I do say so myself). And it all snowballed from there...

Thing is, I've even seen people not even bother to reply....

That vexes me most of all, not just because I (like all of us) have been on the other side. Just post it to Finished Timelines if you don't want to interact with anyone!

Some of that, in my experience, is because of the need for cash on hand, which makes them targets for theft.

I've always understood it to be fear of counterfeiters. Why do you think they keep changing the bills so often?

Count me subscribed already.

Thank you, but you're in for a very long wait...

(That said, if anyone would like to recommend any useful articles or sources about life in pre-war Europe, I'm all ears.)

Please let the next update be about Doctor Who and Tom Baker as the Fourth Doctor.

It will be about The Muppet Show, as I said before; I have also previously requested that people stop asking me about the future casting of Doctor Who.

I hope to have the next update ready this weekend, or Monday at the latest. Thank you for your patience and understanding

 

[NCW8]

That does seem very true; get-rich-quick schemes are so fundamental to American sitcoms (starting with The Honeymooners; its close sibling, the get-famous-quick scheme, originated on I Love Lucy)

Yes, before Only Fools and Horses, the protagonists of British sitcoms didn't often get involved in get-rich-quick schemes. *In the radio series Hancock's Half Hour, Hancock would often be dragged into Sid's schemes to make money, but those schemes were normally far more criminal than get-rich-quick. *The same can be said about Grytpype-Thynne on the Goon Show.

that is an expression of upwardly-mobile aspirations.*

The point of the British trope is that it takes more than money to move from working class to middle class, or from middle to upper class. *There is also the related trope of the penniless aristocrat - if an upper class person loses their money they remain upper class. *Put both tropes together and you get the plot of To The Manor Born.

That said, having read about Man About the House, the Ropers in that version don't appear to have actually owned the building they managed;*

It's a while since I saw it, but I thought that the Ropers did own the building in Man About The House. *However, the building was a house converted into two flats and the Ropers lived in the ground-floor flat. *As you say, they were not as wealthy as their American counerparts.

Cheers,
Nigel