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Curse of the Dream Sequence

Published 7th August 2014

TV Comedy

Brittas asleep on the trainThe Brittas Empire: “Curse of the Tiger Women”
Written by: Ian Davidson and Peter Vincent
Produced by: Mike Stephens
Directed by: Christine Gernon
TX: 24th February 1997

This is the story of one of my least favourite endings to a sitcom ever. But to figure out what went wrong, we need to skip backwards three years…

In 1994, The Brittas Empire had a pretty incredible run. No less than seventeen episodes were broadcast1, across two series – and amongst those seventeen were some of the show’s very best episodes. Examples include “High Noon”, where the leisure centre is blown up on a sitcom budget (and largely convincingly, to boot); the audacious “The Last Day”, where they kill Brittas off, send him to heaven, and then resurrect him during his burial; and “Not A Good Day”, where… they chain Sebastian Coe to a railing and watch him suffer for half an hour.

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  1. Whilst the oft-quoted “only six episodes a year” for British sitcoms is overstated – check out Keeping Up Appearances or Drop the Dead Donkey – seventeen episodes was still pretty unusual. ↩

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Mom.

Published 20th November 2013

Videogames

Player character identification in video games is one of those topics which academia seemingly loves. There are reams and reams of papers dedicated to the subject. I’m never scared to dumb things down here at Dirty Feed, however, so let’s ludicrously simplify things. How I identify with a player character comes in two forms: they’re either not me… or they are me.

In Final Fantasy IX, I am Zidane, a cheeky chappy with a ludicrous tail who discovers he is an Angel of Death. In I-0, I am Tracy Valencia, with all the added anatomy and latent lesbian tendencies that part requires. On the other hand, in a game like Angband, I’m creating a character from scratch, not taking the role of a pre-existing character with their own story – and I tend to think of that character as an extension of myself.

With a life simulation game like Animal Crossing, it’s even more clear-cut. Sure, the world is absolute fantasy, full of talking animals: but I’m still called John. I can wear the kind of clothes I wear in real life, furnish my house like I would if I had endless money and wasn’t a lazy bastard. I’m not playing a part: that character running around on the screen is me.

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The Brittas Empire: The Trial

Published 13th November 2013

TV Comedy

CLERK: Gordon Welsley Brittas, you are charged that you did on the 13th of November 1992 murder Julio Escobido, Eduardo Ramierz, Juan Mendosa, Robert Penchard, Ian Trahern – also known as Big Gary – and Raymond Watts… That you did have in your possession controlled drugs of class A, namely five kilos of heroin and an unknown quantity of amphetamines, contrary to Section 4 of the Misuse of Drugs Act of 1971.. and that you did unlawfully cause Grevious Bodily Harm to Alice Whitely, Grace Beatty, Agnes Swinton and Doreen Lavern-Smith, all of the Whitbury New Town Sunshine Retirement Home, contrary to the Offences of the Person Act 1861.

When The Brittas Empire returned for its third series at the beginning of 1993, it clearly wanted to grab the viewer. Instead of Brittas merely sitting in his office about to start the snowball rolling on another day of calamity, it had him up in the dock on charges of GBH, drug possession, and a murder or six. For most shows, perhaps that would have been enough of an attention-grabbing opener.

Not Brittas.

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Smashie and Nicey: The End of an Era

Published 23rd October 2013

TV Comedy

“On the 22nd Nov 93, an event was to happen of such earth-shattering proportions that it was to shatter the earth to its very proportions…”

Or maybe that should be 4th Apr 94. For that was the day Smashie and Nicey: The End of an Era was first broadcast on BBC1: a spoof documentary featuring your favourite loveable Radio Fab DJs… acting not quite so loveably. Not that “spoof documentary” feels like an adequate description for this trawl through four decades of British pop culture – which, with absolutely no hyperbole, is one of the funniest, most affecting, most beautifully made pieces of comedy I have ever seen. If Norbert Smith – a Life is the best thing Harry Enfield ever did solo, then this is the best work Enfield and Whitehouse produced together.

Following on from the broadcast, the special was released on VHS: and rather than just the usual odd bit of music substitution, it was actually an entirely different, longer edit – a full five minutes longer, in fact. If you know me or this site even slightly, you can probably see where this is leading. So join me now, as I detail every single last difference between the two versions – and if you never saw the VHS edit, enjoy some extra moments of pure joy.

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Underestimating Your Audience

Published 4th February 2012

TV Comedy

So, the BBC have announced Laugh Track, a talent contest to find “the next big Studio Sitcom”. OK, so maybe I’m not so keen on the contest side of things – and alarm bells ring in my head when I read things like “we’re looking for writers that reflect modern Britain” – but hey, it’s still pleasing to see the BBC obviously care about audience sitcom, after some wobbly moments a few years ago. And to go with it, we have this blog post, giving some “handy” hints on how to write your script.

Let’s swiftly move past some of the questionable things in that article – a “comedy sitcom”, eh? – and get to the key section:

“In non-studio comedy series you can do strange, subtle, unusual things – think The Office, Peep Show, The Thick of It, Flight of the Conchords. In studio sitcoms, you have to make the people in the room laugh – out loud, and preferably as often as possible.”

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The Road to Bannu

Published 23rd December 2011

TV Comedy

With David Croft’s death earlier this year, there has been much talk of how his shows proved that audience sitcom works best if, y’know, it’s actually about something. (You may have thought that was fairly obvious, but hey, it’s a start.) Indeed, one of my favourite sitcom episodes of all time is It Ain’t Half Hot Mum‘s final episode in 1981, The Last Roll Call, which deals with demobilisation – a weighty topic which people used to trust audience sitcom with at one point.

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