This essay discusses the similarities and differences between the British sitcom Till Death Us Do Part (1965-68, 1972-75) and its American adaptation All in the Family (1971-79). After briefly tracing the genesis of these programs, it focuses on the process of social and cultural translation which gave life to the American version and made it one of the most popular and, at the same time, most controversial programs in the history of American television. Like its British model, All in the Family offended many for having at its centre the figure of a husband/father who freely gives vent to his prejudice against women and minorities. Through a comparative analysis of characters and plots, this essay argues that while the British original was more daring in its language, its American counterpart was much bolder in its subject-matter, venturing as it did into areas that had previously been deemed unsuitable for popular entertainment.
