The UK and US have a symbiotic relationship with their television output. So many shows have traveled both ways across the pond, finding new homes with audiences in both these countries. With no language barrier and, therefore, no need to navigate subtitles, many shows have been hits in their original iterations on both continents, but there are certain cultural nuances that can completely change the feel of a show. The original UK version of The Office, for example, was so innately British that, as a sitcom, it was hard to make it resonate with larger audiences in its BBC format, leading to the separate U.S. and UK versions of The Office.
Then there are the classic comedies of the ’70s and ’80s that captured a very specific period in time for both countries. Writers were tasked with adapting the sociopolitical impacts of the time to suit a new setting. Taking a story from London to Los Angeles, or Slough to Scranton had their own difficulties, and vice-versa, as some American shows were remade as British TV shows. Some shows were not able to handle the transition from English to American, even after streaming, but there have been some American shows that have taken a solid British idea and made it their own in a very watchable way.
10 Three’s Company (1976-1984)
Based on Man About the House (1973-1976)
Based on its British counterpart, Man About the House, both sitcoms share a similar premise, with slight differences in tone and cultural context. American and British sitcom traditions have always differed, and the 1970s were no different. Both shows revolve around a young man (John Ritter) who shares an apartment with two women. This leads to a lot of romantic tension and misunderstandings that set up the comedy.
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Three’s Company was made for an American audience and reflects the sensibilities of 1970s network television, which was often more broadly comedic, based on slapstick and innuendo. The more subtle wit, character-driven humor of the original was rewritten to be more overt and accessible in terms of comedy. It became a major hit in America and ran for 8 seasons, deeply ingraining itself in pop culture. It was known for its physical humor, the likability of its lead actors, and its broad appeal. Man About the House became a beloved British sitcom, though it didn’t achieve the same level of international recognition as Three’s Company.
9 Sanford And Son (1972-1978)
Based on Steptoe and Son (1962–1974)
The premise of both these shows revolves around a cantankerous, older father and his hapless adult son, who run a junkyard together. The working-class, blue-collar setting is at the heart of this slapstick sitcom. In Sanford and Son, Fred Sanford (Redd Foxx) runs a junk shop in a Los Angeles neighborhood, while Steptoe and Son is set in London. The setting provides a backdrop for much of the comedy, and many episodes involve attempts to sell the useless items or deal with various eccentric clients.
Lamont Sanford (Demond Wilson) is the foil to the grumpy patriarch, as a more level-headed, hard-working young man. Somewhat exasperated by his father’s antics, he also shows compassion and loyalty despite the constant bickering. The American version of the show addressed issues such as race, class, and family relationships while maintaining a broad comedic appeal. It lasted for 135 episodes and was nominated for seven Primetime Emmys.
8 Too Close For Comfort (1980-1987)
Based on Keep It in the Family (1980–1983)
The story revolves around an old-fashioned, middle-aged man, who lives close to his adult daughters as they navigate awkward family dynamics and generational differences. Too Close for Comfort was tailored for an American audience, with a setting that reflected suburban life in the 1980s. The humor was designed to appeal to a broad demographic, with a focus on the clash between traditional family values, and modern social trends. It was a success and ran for six seasons, due in part to Ted Knight’s strong comedic performance.
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Keep It in the Family reflected British middle-class life, focusing more on working-class sensibilities and British domestic humor. It leaned on the awkwardness and social norms of family life in the UK, incorporating a more cynical or resigned tone in dealing with the age divide. Both shows explore the humor of generational gaps, but they do so in ways that reflect the cultural attitudes and sitcom traditions of their respective countries, and through the lense of nostalgia, both are interesting to watch nowadays.
7 Mistresses (2013-2016)
Based on Mistresses (2008-2010)
Centered around the lives of four women who navigate complex relationships, infidelities, and secrets, both shows share a name as well as a soapy feel. The American version of Mistresses embraces the scandalous storylines with more boldness, focusing on melodrama and plenty of plot twists. There are high-stakes relationships, with the core four characters often finding themselves in increasingly extreme or dramatic situations. The show emphasizes emotional intensity and often delves into more outlandish scenarios, which was a hallmark of many soap operas of the time.
Mistresses ran for four seasons in the US, and gained a dedicated fan base. While the original was considered a well-crafted, mature drama, with a slower build-up of tension, the remake wasn’t necessarily a critical success due to its lighthearted nature and potentially implausible storylines. However, the four leads of Alyssa Milano, Jess Macallan, Rochelle Aytes, and Yunjin Kim brought glamor and style in abundance.
6 All In The Family (1971-1979)
Based on Till Death Do Us Part (1965-1975)
All in the Family is one of the most influential American sitcoms. It was lauded for its bold treatment of social issues, and for featuring an outspoken, bigoted teacher as the main character. The humor and conflict in both the original and the remake, arise from the clash between the father figure’s outdated views, and the more progressive and modern attitudes of the younger members of the family.
Archie Bunker (Carroll O’Connor) was the catalyst for most of the drama on the show, which relied on clever and careful writing to address controversial social topics such as racism, sexism, and politics,. These issues were considered taboo in television at the time, both in America and the United Kingdom. Both versions used humor as a way to provoke thought while simultaneously entertaining viewers. All in the Family ran for over 200 episodes and won 22 Emmy Awards, cementing its impact on the cultural zeitgeist.
5 Shameless (2011-2021)
Based on Shameless (2004-2013)
The original British program was a huge success in its home country, garnering big ratings and multiple industry awards. Many UK shows are known to produce short seasons that air for a few episodes each year, so to have 137 is quite a feat. When it was picked up by Showtime, there was a fear that it would lose some of its grit and shock value. Both shows center on a family, which is led by Frank Gallagher (William H. Macy), a manipulative, alcoholic father who neglects his children. They live in poverty, and the children are forced to fend for themselves in a tough, working-class environment. Themes of neglect, family loyalty, and social dysfunction are central to both shows.
As often seen in American adaptations, Shameless (US) leans more on hope for the future. The latter seasons focus on the evolution of the Gallagher children, particularly Fiona (Emmy Rossum), as she takes on the role of family caretaker and tries to break free from the cycle of poverty. The remake has longer story arcs for many of the characters, which allows for more dramatic tension and character evolution. Having won Emmys and SAG awards, the show has made its mark on television on both sides of the Atlantic.
4 Ghosts (2021-present)
Based on Ghosts (2019-2023)
A young couple moves into an old, abandoned mansion haunted by a group of quirky, comedic ghosts. In both variations, the wife (Rose McIver, in the US version) can see the ghosts, and forms meaningful relationships with them. She helps uncover the personal stories and unresolved issues of the spirits, often leading to very funny and touching moments. The ghosts come from different historical periods, with their own life, and death, stories. The original is more dry and witty, with the remake warmer and more broad, but both offer a lot of laughs and feel-good moments.
As is common in BBC productions, each season ran for only a few episodes, with a few Christmas specials aired. The story was wrapped up really well, with a lot of characters getting satisfying resolutions, but allowing the show to run for a longer period of time, allows viewers to connect with the characters even more. Adapting the ghosts’ backstories to fit the geographical location was done very well too, updating the characters to fit in with more apt time periods. But keeping the visual comedy of the ghost shot in the neck with an arrow, and the one with nothing on his bottom half, was a great way of tying both the shows together.
3 Being Human (2011-2014)
Based on Being Human (2008-2013)
A vampire, a werewolf, and a ghost live together and try to navigate their supernatural identities while maintaining a semblance of normal human lives. A very unique concept that was done well by the two productions. In both versions, the vampire struggles with addiction to blood and his violent nature; the werewolf takes on the physical and emotional toll of his transformations; and the ghost is tethered to the house, trying to make peace with her death and unresolved issues. Fans of the show were drawn in by these mythological creatures leading seemingly normal lives with (almost) relatable problems.
The American version retains the emotional depth of the British show but leans more heavily into action, melodrama, and the supernatural lore. The storytelling is faster-paced, with more plot twists, love triangles, and heightened conflicts. It feels more polished and “larger-than-life,” which is quite typical of these types of genre shows. Sometimes it works to remove too much grounding in order to let the characters soar. Both versions have remained cult classics among fans, and keep being discovered by new generations of viewers.
2 Veep (2012-2019)
Based on The Thick Of It (2005-2012)
Both shows are witty, biting, and incredibly clever. These satirical masterpieces have received countless awards on both sides of the ocean. The original inspiration is darker and more cynical, with humor that feels raw and cutting. Insults are elaborate and delivered with venom, with a heavy leaning on dry British wit, class humor, and political incompetence. Veep is slightly more absurd and broad in its humor, with insults that are quick and brutal, but often less poetic than those in The Thick of It. The American show revels in ridiculous political theater, with even more over-the-top scenarios and characters.
Multiple Emmy winner, Julia Louis-Dreyfus, plays Selena Meyer. She’s ambitious, narcissistic, and deeply insecure, and her lack of power as Vice President adds layers of frustration and, of course, comedy. Her relationships with her staff are central to the show, with a lot of opportunities for the supporting actors to shine. With the ability to reflect the current state of politics in each country, both shows offered a glimpse into this convoluted and corrupt world, earning legions of fans, and a lot of critical praise.
1 The Office (2005-2013)
Based on The Office (2001-2003)
When Greg Daniels made the decision to bring the British version of The Office onto US TV, the comedy world collectively held its breath. In order to make this work, there was a lot to consider. The original had already found critical success in America, with Ricky Gervais making a name for himself through his cringeworthy portrayal of David Brent. The show was broadly praised for its ingenuity, unique way of storytelling, and toe-curlingly awkward moments that audiences were both thrilled and appalled by. Having introduced the “mockumentary” style to the masses, characters from Slough had only graced the screens for 12 episodes with a two-part Christmas special. All loose ends were tied, and viewers were content.
Having the original creators working so closely with Daniels and the other writers, allowed for the best possible ideas to flow. In order to make the characters not only bearable but also compelling, for more than 12 episodes required a lot of tweaking. And, there had to be more stories to tell than that of a potential downsizing and merger. The Office US, was able to do something that not many shows have done, which is creating something completely new out of something so familiar.
The building blocks were all there, but the shows differ so much in the best possible ways. Having a “deep bench” of characters allowed for so many relationships to be explored, and Steve Carrell’s warmth made Micheal Scott not only watchable, but ultimately beloved. Having the love story between Jim (John Krasinski) and Pam (Jenna Fisher) brought into the foreground was a genius suggestion from Gervais himself. If it weren’t for those necessary changes, audiences wouldn’t have the gift of these two truly great shows.