John Cleese and Connie Booth needed six weeks to write each episode of Fawlty Towers. As Cleese mentioned, such a production method would be virtually impossible for modern scriptwriters due to the current financing constraints in British comedy.
In my view, there aren’t many comedies out there that have managed to match the enduring success of Fawlty Towers, which continues to top polls as the best ever comedy even after 50 years. As I speak, the stage show is selling out in the West End, proving its timeless appeal and humor.
According to Cleese’s conclusion, if you aim to earn money in British television, consider minimizing the role of writers and acting talent.
Introduce Rob Rinder and Rylan Clark, the duo discussing their extensive journey across India. Boasting unreservedly, they claim the entire TV series doesn’t have any pre-arranged scenes or actors involved; instead, it’s an undeniably funny production without scriptwriters.
It’s not hard to see why the BBC might prioritize paying for these hosts’ flights to Delhi, given that viewers seem to enjoy their back-and-forth and camaraderie so much. After all, they did win a BAFTA award. However, one may wonder if this series will still be worth revisiting 50 years from now?
As we prepare for publication, our editor, Shem Law, is still unaccounted for. Clues regarding his location can be found within the current edition of our magazine. We are growing increasingly concerned.
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Also in this week’s TopMob:
- The Walking Dead’s Andrew Lincoln is back on British TV in a thriller where he’s far from being a hero.
- Michael Palin is excited about his trip to Venezuela – and his ongoing friendship with John Cleese.
- Chris O’Dowd talks romcoms and regional identity – and why his dog is a Puffin.
Have you heard? You can now request past editions of TopMob magazine through our newly introduced back issues service!
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2025-09-09 03:09