Producer of Classic Comedies Acknowledges Changing Humour Standards
The acclaimed producer behind two of Britain's most beloved sitcoms has openly admitted that if he were to remake The Office and The IT Crowd in the present day, there are specific elements the creative team would consciously avoid. Ash Atalla, now 53 years old, rose to prominence in the early 2000s by playing a pivotal role in launching the careers of Ricky Gervais and Stephen Merchant through these groundbreaking television series.
Landmark Productions and Their Lasting Impact
Atalla served as the producer for The Office during its original run on BBC Two from 2001 to 2003, a show that fundamentally altered the landscape of British comedy with its mockumentary style and cringe-inducing humour. Following this success, he went on to create and produce another major hit, The IT Crowd, which aired on Channel 4 between 2006 and 2013, captivating audiences with its quirky portrayal of IT department employees.
In the years since these programmes concluded, similar to numerous early 2000s television offerings, both series have encountered substantial criticism regarding their comedic content, with some jokes now perceived as outdated or offensive. Reflecting on this shift in societal attitudes, Atalla provided candid insights during a recent interview with The Telegraph.
Defending Comedy as a Product of Its Time
'The question is: is it enough of a defence to say that it was of its time? And I think, yes it is,' Atalla stated emphatically. 'The world moves on, things move on. There are definitely a couple of bits of The Office that we wouldn't do now. The IT Crowd? Ninety-eight per cent of it is fine, and two per cent, yeah, we wouldn’t do now.'
He further elaborated on his personal philosophy towards comedy and its potential to cause distress, expressing a clear desire to avoid contentious debates stemming from his creative output. 'I'm not interested in upsetting people with my comedy. And if we have done, I would apologise and move on,' Atalla affirmed. 'I don't want to be sitting in rooms arguing with people about politics or race or anything through my work. That's not where I want my career to live.'
Echoes from Across the Atlantic
These sentiments resonate with observations made by cast members from the American adaptation of The Office. Rainn Wilson, who portrayed Dwight Schrute in the US version that aired from 2005 to 2013, recently acknowledged on The Last Laugh Podcast that certain episodes could be considered 'jaw-droppingly offensive' by contemporary standards.
Wilson specifically referenced the 'Benihana Christmas' episode, highlighting a scene where characters Michael and Andy draw on an Asian woman with a marker. 'It's a tricky conversation, you know? They're clueless and in their cluelessness they're racist and insensitive,' Wilson explained. 'Could it happen today? I think it would have to be very, very different if it were made in this environment.'
Channel 4 Implements Content Warnings
Atalla's remarks follow Channel 4's decision to attach trigger warnings to specific episodes of The IT Crowd. The sitcom, which first premiered in 2006, follows the misadventures of tech geeks Roy and Moss, along with their non-technical supervisor Jen, and has been highly praised, earning a BAFTA award and an 85% score on Rotten Tomatoes.
However, two particular episodes now carry explicit guidance for viewers. The second episode of the first series, featuring an office fire scenario, includes a warning stating: 'This episode was made in 2006 and contains strong, offensive/derogatory language and adult humour. This programme isn't suitable for younger viewers.'
Additionally, the first episode of the second series comes with another advisory notice: 'Adult humour. This episode was made in 2007 and contains crude gay stereotypes which some viewers may find offensive. This programme isn't suitable for younger viewers.' Channel 4 was approached for comment regarding these warnings at the time of their implementation.
The ongoing dialogue surrounding these classic comedies underscores a broader cultural reckoning with humour from previous decades, as producers and networks navigate the balance between preserving artistic legacy and acknowledging evolving social sensitivities.
