Ally Ross, a TV critic known for his disapproval of BBC sitcoms, lambasts the latest offering, “Smoggie Queens,” as another in a long line of comedic failures from the corporation. The Guardian, while refraining from outright condemnation, awards a lukewarm three stars, lamenting the show’s lack of humor. This critique echoes a recent call from BBC’s head of comedy, Jon Petrie, for bolder, funnier sitcoms. The author, however, argues that the blame lies not with the writers but with the BBC itself, citing the network’s rejection of his own well-received comedy series, “Hapless,” as evidence of a systemic aversion to truly funny programming. He contends that the BBC, under Petrie and Director General Tim Davie, has deliberately shifted away from broadly appealing comedy, opting instead for niche, often humorless offerings that fail to resonate with the wider public.
The author’s frustration stems not only from the rejection of his own work but also from the implications for accessibility. He points to the case of a nurse who couldn’t afford Amazon Prime, where “Hapless” now streams, highlighting the BBC’s failure to provide free access to quality comedy for all viewers. He contrasts this with the BBC’s promotion of underperforming shows like “Smoggie Queens,” which garnered a meager 0.4% audience share, illustrating a disconnect between the network’s priorities and public taste. He argues that the BBC’s focus on narrow demographic targeting—creating shows specifically for Scots, Northern Irish, Black audiences, or menopausal women—comes at the expense of creating universally appealing comedy that unites rather than divides.
The author emphasizes the power of inclusive comedy, pointing to a clip from “Hapless” featuring a diverse cast of characters that resonated with millions of viewers, including young Muslim men. This, he argues, is the true meaning of inclusivity: creating comedy that transcends cultural boundaries and resonates with everyone. He laments the current state of satire, especially on the BBC, citing the decline of “Have I Got News For You” into a toothless format that invites politicians on as guests, a far cry from the merciless skewering of shows like “Spitting Image” or the recent “South Park” episode targeting Harry and Meghan. He lays the blame squarely at the feet of Tim Davie, accusing the Director General of being too timid to commission truly edgy satire for fear of backlash from specific interest groups.
The author’s critique extends beyond just programming choices; he criticizes the entire system, from commissioning practices to budgetary decisions. He proposes several solutions to revitalize BBC comedy. Firstly, he suggests acknowledging the importance of comedy to UK culture and apologizing for the BBC’s decades-long failure to give it the weight it deserves. Secondly, he asserts that writers and actors, not executives, are the true experts in comedy. He recounts frustrating encounters with executives who dismissed his work based on flawed reasoning, demonstrating a lack of understanding of what makes comedy successful. He even suggests that AI provides better notes than these executives. Thirdly, he calls for a reduction in budgets and crew sizes, arguing that comedy can be produced cheaply and effectively without compromising quality.
He advocates for casting unknown but talented individuals instead of relying on expensive A-list actors. Finally, he proposes showcasing all comedy output on BBC One, the flagship channel, instead of relegating it to less prominent slots. This, he argues, would expose comedy to a wider audience, potentially fostering a new generation of comedy fans and demonstrating the BBC’s commitment to the genre. He believes this strategy could bridge divides, allowing fans of diverse shows, from “Clarkson’s Farm” to “Friday Night Dinner,” to share a common source of laughter.
Ultimately, the author’s plea is for the BBC to embrace risk-taking and prioritize truly funny, edgy, and inclusive comedy. He sees humor as a crucial unifying force in a fragmented and anxious society, a force that the BBC under Tim Davie has squandered. He calls for a complete overhaul of the comedy department, replacing the current risk-averse leadership with individuals who understand and appreciate the power of laughter. He envisions a BBC that once again leads the way in producing groundbreaking, universally appealing comedy, a BBC that is not afraid to take on powerful figures and challenge societal norms through satire.
