For many of us, television has always been about comfort. Despite two decades of talk about ‘prestige television’, the reality is that most viewers crave familiar narratives, offering just enough novelty to promise a surprise without actually delivering a shock. We seek the comfort of the known, presented with a fresh coat of paint. This is precisely the appeal of the latest season of Stuff the British Stole.
Each week, host Marc Fennell embarks on a global expedition to uncover items that Britain has, shall we say, “borrowed” from its former colonial possessions. It’s an engaging and educational journey through history, underpinned by a clear moral: colonialism is detrimental. And if you happen to disagree, well, the title of the show itself might offer a clue as to why you’re tuning in.
The Rich Tapestry of Stuff the British Stole
Beyond its compelling premise, the series boasts a diverse range of stories. The season premiere delves into the intricate history of tea, revealing a surprisingly murky past. Subsequent episodes promise to explore the questionable exploits of Captain Cook, shed light on the acquisition and significance of the Rosetta Stone in the British Museum, and recount the tale of a meteorite that crash-landed in Cranbourne, Victoria, only to embark on a further, unexpected journey.
This kind of storytelling might not sound revolutionary, yet for years, we were led to believe it was the sort of television we should be moving beyond. The prevailing wisdom suggested that the future of television lay in either groundbreaking reality shows or sophisticated prestige dramas – content that was inherently surprising and new, rather than Marc Fennell explaining the origins of tea from China.
The Evolving Landscape of Australian Television
The forces reshaping the television industry continue to exert their influence. Streaming is undeniably the future, with experts predicting the eventual demise of traditional terrestrial broadcasting as networks migrate entirely online. In the coming decade, accessing your favourite comfort viewing might well be a matter of internet access, whether you prefer it or not.
The advent of streaming services ushered in a new era of audience engagement. Initially, high-quality drama was the key to subscriber acquisition. As these services require a direct financial commitment from viewers – unlike free-to-air television funded by advertising – the strategy was to produce programming so compelling that people would willingly pay for subscriptions.
This approach initially succeeded, though the majority of viewers still gravitated towards established favourites. With prestige dramas capturing the most discerning audiences, broadcasters worldwide increasingly turned to more cost-effective reality programming.
The Challenge of Long Waits and Shifting Stability
Australia now exemplifies a global trend in a rather pronounced way. Prime-time free-to-air television in Australia has largely become dominated by reality formats, while more expensive scripted dramas have migrated to streaming platforms or public broadcasters like the ABC.
As streaming services matured, their audience acquisition strategies evolved. The focus shifted from attracting first-time subscribers to retaining and replacing existing ones. This meant that original programming was geared towards creating the “next big thing,” rather than sustaining established hits. The result was a constant churn of new content, with many shows being axed after their initial season.
This created a ripple effect. When streaming services delay commissioning a second season until a show’s success is confirmed, it leads to significant gaps between seasons. Creators are hesitant to invest heavily in a project without the certainty of its continuation.
Consequently, even successful series often experienced lengthy delays between seasons (remember the wait for Severance?). By the time a show returned, it sometimes found itself no longer the cultural phenomenon it once was (recall the trajectory of Squid Game?). This trend transformed a significant portion of television into a landscape of new series that, regardless of their initial reception, often disappeared after their first outing.
These shows stood in stark contrast to the definition of comfort viewing we discussed at the outset.
The Enduring Need for Reliable Familiarity
This environment has left viewers seeking out content that offers reliability and stability, and the industry pendulum is gradually swinging back. A significant portion of the praise directed at the US medical drama series The Pitt can be attributed to two key factors: its seasons consist of a more traditional, longer run of episodes, rather than the increasingly common six or eight, and the show returned for its second season less than a year after its debut.
While the subject matter of The Pitt and Stuff the British Stole is vastly different, they both tap into a similar sentiment. Fennell’s series relies on a robust, unpretentious format, promising audiences something familiar while still delivering enough fresh material within those parameters to maintain engagement.
Stuff the British Stole is perfectly suited to the current television climate. The vastness of “stolen” items provides ample material for the series to continue indefinitely, and its inherent variety ensures it remains captivating, even though viewers generally know precisely what to expect from each episode. Well, perhaps not everything – the revelation of how British tea traders evolved into major drug dealers was certainly an eye-opener.
Season 3 of Stuff the British Stole airs Tuesdays on ABC TV, with episodes also available for streaming on ABC iView.
