That Was The Week That Was

That Was The Week That Was. Often abbreviated as TW3, it was a groundbreaking British television satire programme that aired on the BBC from 1962 to 1963. Conceived by producer Ned Sherrin, the show pioneered a new, irreverent form of topical comedy that directly lampooned politicians, current events, and the establishment. Its live, late-night broadcasts became a cultural phenomenon, significantly influencing the trajectory of satirical comedy and paving the way for shows like Monty Python's Flying Circus and Saturday Night Live.

History and origins

The programme emerged during a period of social and political change in the United Kingdom, following the Profumo affair and the waning of post-war austerity. It was developed by Ned Sherrin for the BBC's nascent BBC Two channel, with the initial support of Hugh Carleton Greene, the Director-General of the BBC who sought to modernize the corporation's image. The show's format was inspired by the more aggressive satire found in venues like The Establishment Club and publications such as Private Eye. Its first episode aired on 24 November 1962, broadcast from the BBC Television Centre in London. Although intended as a limited series, its immediate impact led to a full season, though it was controversially cancelled after the 1964 general election was called, with the BBC citing political impartiality.

Format and content

Broadcast live on Saturday nights, the show presented a chaotic, magazine-style blend of sketches, monologues, songs, and editorial commentary. The set was deliberately sparse, often just a newsroom-like space, reinforcing its improvised and immediate feel. A rotating team of writers, including David Frost, Millicent Martin, and Bernard Levin, crafted segments that ruthlessly parodied figures like Harold Macmillan, Alec Douglas-Home, and Henry Brooke. Musical satire was provided by composers like John Dankworth and Ronnie Barker, while the famous closing song, "That Was The Week That Was," was performed by Millicent Martin. The show fearlessly tackled topics including the Cold War, the House of Lords, and the Berlin Wall, breaking television conventions by directly naming and critiquing public figures.

Cultural impact and legacy

TW3 is widely regarded as a watershed moment in broadcasting history, shattering the culture of deference that had dominated British media. It demonstrated that television could be a powerful platform for political dissent and social commentary, directly influencing a generation of comedians and writers. The show's success led to an American adaptation, also titled That Was The Week That Was (American TV program), hosted by David Frost, which similarly tackled the John F. Kennedy assassination and the Civil Rights Movement. Its spirit lived on in subsequent programmes such as Not the Nine O'Clock News, Spitting Image, and The Daily Show. The programme also elevated several of its cast to national prominence, particularly David Frost, who leveraged his fame into a long career in transatlantic television.

Notable cast and contributors

The ensemble cast featured a mix of emerging talents and established performers. David Frost served as the principal anchor and a chief writer, his wry delivery becoming synonymous with the show. Singer and actress Millicent Martin was a regular performer, delivering the iconic weekly theme. Satirist and journalist Bernard Levin contributed sharp political diatribes, while comedian Roy Kinnear appeared in numerous sketches. Other key performers included Lance Percival, William Rushton, and Kenneth Cope. Behind the scenes, the writing team was exceptionally robust, featuring contributions from future luminaries like John Cleese, Peter Cook, Alan Bennett, and Dudley Moore, though often under pseudonyms. Music was overseen by John Dankworth and his wife, singer Cleo Laine.

Reception and critical response

The programme received both rapturous praise and intense criticism, reflecting its divisive nature. It was celebrated by progressive critics and much of the younger public for its boldness and relevance, with viewing figures reaching millions. However, it faced fierce opposition from politicians in Parliament, traditionalists within the BBC, and conservative newspapers like The Daily Telegraph, which accused it of bad taste and undermining authority. Figures such as Mary Whitehouse later cited the show as a prime example of broadcasting's moral decline. Despite its short original run, its critical reputation has only grown, with historians of comedy crediting it with permanently altering the relationship between television, politics, and public discourse in Britain.

Category:1960s British television series Category:BBC television shows Category:British satire television series