The critically acclaimed US television drama could not be made here. We have writing talent in abundance, but its output is controlled by a stifling monopoly—the BBC. Plus, an interview with The Wire's creator David Simonby Peter Jukes / October 21, 2009 / Leave a comment
Published in November 2009 issue of Prospect Magazine
Read Prospect’s interview with The Wire’s creator David Simon, in which he explains why writing is a team sport in the US
It’s been a slow burning fuse. From its first broadcast on the US pay-TV channel HBO in 2002, it took seven years for The Wire to accumulate widespread critical recognition in Britain. And it has grown into something bigger than an artistic success. Like a great Victorian novel, David Simon’s epic portrait of the policing, crime and politics of post-industrial Baltimore is now cited by politicians and leader writers. But the success of this show and a raft of other imports such as The West Wing and Mad Men begs a question about the state of one of our key cultural industries. How come US television drama has captured the high end of the market and we have abandoned it?
It wasn’t always this way. Although America dominated postwar television drama from Bonanza to Dallas and Dynasty, Britain had a healthy export trade. Till Death us Do Part was transformed into All in the Family, and Monty Python changed US comedy. But our most important impact was not in quantity but quality. Epic historical series such as Jewel in the Crown or experimental melodramas such as Pennies from Heaven set a benchmark for US writers and producers.