The UK and US have a symbiotic relationship with their television production. Many shows traveled both ways, finding new homes with audiences in both countries. With no language barrier and therefore no need to navigate subtitles, many shows have been successful 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 The office, for example, it was so innately British that, as a sitcom, it was difficult to make it resonate with larger audiences in its BBC format, leading to the separate US and UK versions of The office.
Then there are the classic comedies from the 70s and 80s that captured a very specific period for both countries. Writers were tasked with adapting the sociopolitical impacts of the time to fit a new setting. Taking a story from London to Los Angeles, or from Slough to Scranton had its own difficulties, and vice versa, as some American shows were remade as British TV shows. Some shows weren't able to handle the transition from English to American even after broadcast, but there were some American shows that took a solid British idea and made it their own in a very watchable way.
10
Company of Three (1976-1984)
Based on Man over the house (1973-1976)
Based on its British counterpart, Man over the houseboth sitcoms share a similar premise, with slight differences in tone and cultural context. The traditions of American and British sitcoms have always been different, 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.
Company of Three was made for an American audience and reflects the sensibilities of 1970s network television, which were often more broadly comedic, relying on slapstick and innuendo. The original's more subtle, character-based humor has been rewritten to be more overt and comedicly accessible. It became a huge hit in America and ran for 8 seasons, taking deep root in pop culture. It was known for its physical humor, the friendliness of its leading actors, and its broad appeal. Man over the house became a beloved British sitcom, although it did not achieve the same level of international recognition as Company of Three.
9
Sanford and Son (1972-1978)
Based on Steptoe and son (1962–1974)
The premise of both shows revolves around a grumpy older father and his hapless adult son, who run a junkyard together. The working-class and blue-collar setting is at the center of this slapstick comedy. In Sanford and sonFred Sanford (Redd Foxx) runs a junk shop in a Los Angeles neighborhood, while Steptoe and son takes place in London. The setting provides the backdrop for much of the comedy, and many episodes involve attempts to sell useless items or deal with various eccentric customers.
Lamont Sanford (Demond Wilson) is the foil to the grumpy patriarch, as a more sensible and hard-working young man. Somewhat exasperated by his father's antics, he also shows compassion and loyalty despite their constant bickering. The American version of the show tackled issues such as race, class and family relationships while maintaining a broad comedic appeal. It ran 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 strange family dynamics and generational differences. Too close for comfort was adapted for an American audience, with a setting that reflected suburban life in the 1980s. The humor was designed to appeal to a wide audience, focusing on the clash between traditional family values and modern social trends. It was a success and ran for six seasons, in part due to Ted Knight's strong comedic performance.
Keep it in the family it reflected British middle-class life, focusing more on working-class sensibilities and British domestic humor. It drew on the strangeness 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 differences, but they do so in ways that reflect the cultural attitudes and comedy traditions of their respective countries, and through the lens of nostalgia, both are interesting to watch today.
7
Lovers (2013-2016)
Based on Lovers (2008-2010)
Centered on the lives of four women navigating complex relationships, infidelities, and secrets, both shows share a name as well as a soapy feel. The American version of Lovers embraces scandalous stories more boldly, focusing on melodrama and lots of plot twists. There are high-stakes relationships, with the four main characters often finding themselves in increasingly extreme or dramatic situations. The show emphasizes emotional intensity and often delves into more bizarre scenarios, which was a hallmark of many soap operas of the time.
Lovers it ran for four seasons in the US and gained a dedicated fan base. While the original was considered a mature, well-crafted drama with a slower build-up of tension, the remake was not necessarily a critical success due to its light-hearted nature and potentially implausible plots. 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 Until death do us part (1965-1975)
All in the family is one of the most influential American comedies. It was praised for its bold treatment of social issues and for featuring an outspoken and prejudiced professor as the main character. The humor and conflict in both the original and the remake arise from the clash between the outdated views of the father figure and the more progressive, modern attitudes of the younger members of the family.
Archie Bunker (Carroll O'Connor) was the catalyst for most of the series' drama, which featured smart, thoughtful writing to address controversial social topics such as racism, sexism, and politics. These issues were considered taboo on television at the time, both in America and the United Kingdom. Both versions used humor as a way to provoke thought while at the same time entertaining viewers. Everyone in the family it 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 show was a huge hit in its home country, garnering huge ratings and several industry awards. Many UK shows are known for producing short seasons that air a few episodes each year, so having 137 is quite a feat. When it was acquired by Showtime, there was a fear that it would lose some of its grit and shock value. Both shows revolve around a family led by Frank Gallagher (William H. Macy), a manipulative, alcoholic father who neglects his children. They live in poverty and children are forced to fend for themselves in a difficult working-class environment. Themes of neglect, family loyalty, and social dysfunction are central to both shows.
As often seen in American adaptations, Shameless (USA) relies more on hope for the future. The last few seasons focus on the evolution of the Gallagher children, especially Fiona (Emmy Rossum), as she takes on the role of family caregiver 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 left its mark on television on both sides of the Atlantic.
4
Ghosts (2021 to present)
Based on Ghosts (2019-2023)
A young couple moves into an old, abandoned mansion haunted by a group of peculiar and comical ghosts. In both variations, the wife (Rose McIver, in the American version) can see the ghosts and form meaningful relationships with them. She helps uncover spirits' personal stories and unresolved issues, often leading to very funny and touching moments. Ghosts come from different historical periods, with their own stories of life and death. The original is drier and wittier, with the remake warmer and broader, but both offer plenty of laughs and feel-good moments.
As is common with BBC productions, each season lasted just a few episodes, with some Christmas specials shown. The story was wrapped up very well, with many 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 ghost stories to suit the geographic location was also very well done, updating the characters to fit more suitable time periods. But keeping the visual comedy of the ghost shot in the neck by an arrow and the one with nothing on his lower half was a great way to tie the two shows together.
3
Being Human (2011-2014)
Based on Human Being (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 life. A unique concept that was well executed by both productions. In both versions, the vampire struggles with blood addiction and his violent nature; the werewolf takes on the physical and emotional weight of his transformations; and the ghost is tied to the house, trying to make peace with his death and unresolved issues. Fans of the show were drawn to these mythological creatures who lead seemingly normal lives with (almost) relatable problems.
The American version maintains the emotional depth of the British show, but leans more heavily into action, melodrama and supernatural lore. The narrative is faster, with more plot twists, love triangles and intensified conflicts. It feels more polished and “larger than life,” which is pretty typical of these types of genre shows. Sometimes it works to remove too much grounding to allow characters to fly. Both versions have remained cult classics among fans and continue to be discovered by new generations of viewers.
2
Veep (2012-2019)
Based on The thickness of it (2005-2012)
Both shows are witty, biting, and incredibly intelligent. These satirical masterpieces have received numerous awards on both sides of the ocean. The original inspiration is darker and more cynical, with a humor that feels raw and cutting. The insults are crafted and delivered with venom, leaning heavily on dry British wit, class humor and political incompetence. Veep is a little more absurd and broad in its humor, with quick and brutal insults, but often less poetic than those in The thickness of it. The American show reveals ridiculous political theater, with even more exaggerated 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. Your relationship with your crew is central to the show, with plenty 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 complicated and corrupt world, earning legions of fans and much 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 on US TV, the comedy world collectively held its breath. For this to work, there was a lot to consider. The original had already enjoyed critical success in America, with Ricky Gervais making a name for himself through his worthy portrayal of David Brent. The show was widely praised for its ingenuity, unique storytelling, and awkward moments that left audiences both emotional and horrified. Having introduced the "mockumentary" style to the masses, Slough's characters only appeared on screen in 12 episodes with a two-part Christmas special. All loose ends were tied up and viewers were left satisfied.
Having the original creators work so closely with Daniels and the other writers allowed the best possible ideas to flow. To make the characters not only bearable but also compelling, over 12 episodes required a lot of tweaking. And there should be more stories to tell than a potential downsizing and merger. The office USA, was able to do something that few shows have done, which is create something completely new out of something so familiar.
The building blocks were all there, but the shows differ greatly in the best possible ways. Having a “deep bench” of characters allowed so many relationships to be explored, and Steve Carrell's warmth made Micheal Scott not only watchable, but ultimately beloved. Putting the love story between Jim (John Krasinski) and Pam (Jenna Fisher) at the forefront was a brilliant suggestion from Gervais himself. If it weren't for these necessary changes, audiences wouldn't have the gift of these two truly great shows.