Whose Line Is It, Anyway? is such a clever & fun series. The comedy is (usually) on the mark, the writing and ideas are well-done and the players are really, really good at what they do. This show was actually introduced to me by my Intro-to-Theatre teacher in the 11th grade and I enjoyed watching the reruns of the British version on Comedy Central back then and was introduced to a unknown to me at the time batch of talented and charismatic international comics from the United Kingdom, the United States and Canada, including Mike McShane, Josie Lawrence, Ryan Stiles, Wayne Brady, Stephen Frost, Greg Proops, Colin Mochrie & Tony Slattery. The formula wasn't just good, it was amazing. You could tell that they not only worked well together (save for the usually good-natured ribbing of hosts Clive Anderson and Drew Carey), but they also got along with each other (particularly the friendships of Colin & Ryan and Mike & Tony). At the end of the day it did not matter which version you were watching, be it the gritter and more crass British version or the polished and more PG-friendly American version; you would be walking away from it laughing until it hurt and with a few Running Gags among you and your friends (I know I sure did!) Sadly, as I got older and more aware of how "the business" works, there was one thing about the show that, while thankfully not absolutely destroying my love for it or its talent, makes me look at it again with a dimmer perspective: the executive meddling.
Oh, God, the executive meddling.
As fun as both versions remain, the actions behind the scenes cannot go unmentioned. It's the reason why the show became much more lighthearted, which isn't a bad of a thing itself, but the ripple effect did some damage to others' careers. It's why Colin, Ryan & Wayne became permanent fixtures on the show; they're great comics, but some variety is also nice. It's why "Pulling a Colin" was gone in the US version. It's why the UK series' composer, the charming but often silent Richard Vranch was never allowed to participate in the panel itself; he was really good at improv, but the producers never gave the guy a chance to shine. It's why Mike and Tony were removed from the show; in trying to become more "marketable" to Us audiences where the show eventually went to, they fired the risque latter and the "unattractive" former in spite of their talent and popularity with fans. It's also why the last appearance of Mike had him in a suit and cut hair instead of his signature wilder style (what?) It's also why there may likely be a burnt bridges between some performers: aside from this nearly indirectly killing poor Tony, execs wanted to can Colin only for Ryan to speak up on his behalf, and only his (and man, was I disappointed when I learned of that!)
I still love the show, no matter what flavor I'm given, but it's still bittersweet and tainted for me.
A great series that is unfortunately undermined by one big problem
Whose Line Is It, Anyway? is such a clever & fun series. The comedy is (usually) on the mark, the writing and ideas are well-done and the players are really, really good at what they do. This show was actually introduced to me by my Intro-to-Theatre teacher in the 11th grade and I enjoyed watching the reruns of the British version on Comedy Central back then and was introduced to a unknown to me at the time batch of talented and charismatic international comics from the United Kingdom, the United States and Canada, including Mike McShane, Josie Lawrence, Ryan Stiles, Wayne Brady, Stephen Frost, Greg Proops, Colin Mochrie & Tony Slattery. The formula wasn't just good, it was amazing. You could tell that they not only worked well together (save for the usually good-natured ribbing of hosts Clive Anderson and Drew Carey), but they also got along with each other (particularly the friendships of Colin & Ryan and Mike & Tony). At the end of the day it did not matter which version you were watching, be it the gritter and more crass British version or the polished and more PG-friendly American version; you would be walking away from it laughing until it hurt and with a few Running Gags among you and your friends (I know I sure did!) Sadly, as I got older and more aware of how "the business" works, there was one thing about the show that, while thankfully not absolutely destroying my love for it or its talent, makes me look at it again with a dimmer perspective: the executive meddling.
Oh, God, the executive meddling.
As fun as both versions remain, the actions behind the scenes cannot go unmentioned. It's the reason why the show became much more lighthearted, which isn't a bad of a thing itself, but the ripple effect did some damage to others' careers. It's why Colin, Ryan & Wayne became permanent fixtures on the show; they're great comics, but some variety is also nice. It's why "Pulling a Colin" was gone in the US version. It's why the UK series' composer, the charming but often silent Richard Vranch was never allowed to participate in the panel itself; he was really good at improv, but the producers never gave the guy a chance to shine. It's why Mike and Tony were removed from the show; in trying to become more "marketable" to Us audiences where the show eventually went to, they fired the risque latter and the "unattractive" former in spite of their talent and popularity with fans. It's also why the last appearance of Mike had him in a suit and cut hair instead of his signature wilder style (what?) It's also why there may likely be a burnt bridges between some performers: aside from this nearly indirectly killing poor Tony, execs wanted to can Colin only for Ryan to speak up on his behalf, and only his (and man, was I disappointed when I learned of that!)
I still love the show, no matter what flavor I'm given, but it's still bittersweet and tainted for me.