Also, the pay? Fucking awful in comparison.
So. Very. True.
But re the BBC's production values - there's already a TON of BBC content on US TV screens that American audiences are happily watching without realizing. Almost everything on the Discovery family of channels is bought-in and reversioned (American narrators and edited for ads) BBC progamming, ditto the History Channel and a fair chunk of PBS. (Of course, the docs do tend to be produced at a higher level than the fiction for the very reason that they DO sell well over here, and Discovery as a co-producer means more money at the start. But Rome was a huge success, as was Hustle, and of course Dr Who on both BBCA and SciFi.)
I think, in terms of production values, that Britishy tell tends to look and be quite stagey; that at least until pretty recently, UK telly was largely influenced by the theatrical tradition, rather than the cinematic tradition. Whereas in the US, it's been more influenced by cinematic conventions.
'Course, I may be talking shite. But that seems to me a plausible explanation for the difference between
Casualty
and
ER.
(Because I don't
think
it's just about how much money is being thrown at shows in terms of lighting/sound/sets etc. Although maybe it's just that...)
Still, UK telly is getting shinier these days.
Well, I hadn't realized when I talked earlier, but it turns out a lot of writer-producers have clauses in their contracts stating they can't work on the internet except as part of the contracting employer's own efforts.
For instance, if a writer-producer was contracted with ABC, they can't work for anything but ABC web efforts. And since Disney/ABCis a struck company, they can't work for anyone then.
Now, they are talking about the studios using force majeur clauses that kick in after six weeks (in general, it will vary by specific contract) that void the contracts to get rid of some folks that they have been wanting to get rid of anyways. But they don't have to, and in some cases they may want to keep writer-producers under contract for no other reason to keep them from doing anything else. But on the bright side, that means they keep on getting paid (for the producer half of their job, at least)
So we may not see all of our favorite writers do anything other than catch up on their comic work in this time...
That is my limited understanding of the situation, of course. People with first hand knowledge, please feel free to correct me...
Part of the difference between Casualty and ER will be the budget, Fay. I don't have figures to hand, but I'm willing to bet ER is a $2m an episode or so production (if not more), which would likely pay for several series of Casualty with the BBC.
Certainly, when you look at Doctor Who - a show which has ratings Tim's networks could only dream of, in a country with a fifth of the population - that shows' budget is tiny. If you are wondering why, at the height of it's rating success it's shutting down production - a situation you would never get in the US - I think we can all work out why the people involved in a hit worldwide TV show might be looking elsewhere.
And all power to them. I would, too.
Tamara i tried to watch an ep of Blood Ties and i was supremely bored. not nearly enough vampire for me.
But when he is there, he is very pretty. That's enough. I'm easy.
Just heard - NBC have put Alyson Hannigan on unpaid leave over How I Met Your Mother. The SAG are up in arms as it violates everything, apparently. She's still under an exclusivity deal, but isn't being paid.
ETA: [link]
Kevin, I don't think HIMYM is NBC.
I want to say it's CBS, but Tivo has pretty much destroyed my ability to remember what's on which channel.
Regardless, the article Kevin linked to says it's the production studio, Sony, not the network.
