[S1E1] Til Death Do Us Part [CRACKED]

Created by Johnny Speight, Till Death Us Do Part centred on the East End Garnett family, led by patriarch Alf Garnett (Warren Mitchell), a reactionary white working-class man who holds racist and anti-socialist views. His long-suffering wife Else was played by Dandy Nichols, and his daughter Rita by Una Stubbs. Rita's husband Mike Rawlins (Anthony Booth) is a socialist "layabout" from Liverpool who frequently locks horns with Garnett. Alf Garnett became a well-known character in British culture, and Mitchell played him on stage and television until Speight's death in 1998.

[S1E1] Til Death Do Us Part

Ultimately "silly moo" became a comic catchphrase. Another Garnett phrase was "it stands to reason", usually before making some patently unreasonable comment. Alf was portrayed as an admirer of Enoch Powell, a right-wing Conservative politician known particularly for his strong opposition to the immigration of immigrants from non-white countries. Alf was also a supporter of West Ham United (a football club based in the East End) and known to make derogatory remarks about "the Jews up at Spurs" (referring to Tottenham Hotspur, a north London club with a sizeable Jewish following). This was a playful touch by Speight, as Warren Mitchell was both Jewish and a Tottenham Hotspur supporter.[7]

To combat these problems, it was suggested by the production team that there be "windows" or "spaces" within the script that could easily be excised and replaced with more topical jokes (a frequent tactic used in other topical sitcoms like Yorkshire Television's The New Statesman twenty years later), a suggestion that was initially refused by Speight in the 1960s run of the series but which was taken up during the 1970s run. This came to be particularly useful to ensure maximum topicality during the 1974 series, some episodes of which reflected and satirised the UK miner's strike and the Three Day Week. However, Speight's initial refusal to accept these suggestions, combined with his constant demands of pay increases (eventually becoming the highest-paid comedy writer and then - after another increase - the highest-paid TV writer, during a time of strict public-sector pay restraints imposed by the Labour government of Harold Wilson, which was a source of particular embarrassment to the BBC) and the increasing clashes he and the BBC were having with Mary Whitehouse, came to a head. Over time, Mary Whitehouse and the National Viewers' and Listeners' Association (NVLA) had several court cases with the BBC directly or indirectly related to the series, some of which Whitehouse or the NVLA won. During the first two series, the programme was originally broadcast on weeknights in a 7:30pm timeslot, before the post-9pm "watershed", and both Whitehouse and Speight campaigned for such a change in scheduling, the only aspect of the programme that they agreed upon. The reluctance of the BBC to reschedule the series at first can possibly be explained in the fact that the "watershed" was a relatively new phenomenon at the time and there was no consensus between the BBC and the ITA over what should and should not constitute family-friendly broadcasting, nor when this "watershed" should start, the responsibility over what constituted family-friendly viewing being primarily placed with the child's parents.

Given the problems the series had given the BBC with steep pay increases in the midst of a government-imposed public sector pay freeze, scripts being delivered in varying degrees of completeness (and sometimes not at all), several court cases (usually libel or blasphemy), hundreds of complaints, several run-ins with Mary Whitehouse and the NVLA, the loss of the series' two biggest champions (first Frank Muir, then Hugh Carleton Greene), the new management having different opinions over the programme and the general stress its production placed on staff (primarily down to the incomplete scripts submitted by Speight), all despite its ratings success over ITV (particularly over Coronation Street) in its first two series and its general popularity as a whole, contributed to the BBC getting cold feet over the programme. A planned fourth series, scheduled for autumn 1968, was scrapped.

The programme was revived in 1972, during a time when the BBC were reviving some of their more successful sitcoms from the 1960s for colour production (Steptoe and Son being an example). A contributory factor to this decision may have been that, since the ITV franchise changes of the summer of 1968, ITV had paid a lot more attention to making sitcoms, particularly those featuring, and appealing to, the working class, which had previously been the preserve of the BBC during the 1960s. This can be attributed as a direct effect of the popularity of Till Death Us Do Part, The Likely Lads and Steptoe and Son, which were the first sitcoms to truly depict the realities of working-class life in Britain and were not set in typical "middle-class sitcom suburbia". In amongst these programmes, Till Death Us Do Part would not look as out of place as it did in the late 1960s, particularly now as the show would be less topical (bar some 1974 episodes) but no less political or controversial, as it had originally been. This was of great help to Speight, as it now meant that he did not have to wait until the very last minute to submit completed or half-completed scripts.

Till Death Us Do Part started airing on That's TV[9] on 4 September 2022, as part of a nightly BBC sitcom double bill with The Fall and Rise of Reginald Perrin,[10] with four 'lost episodes' ("Intolerance", "In Sickness and In Health", "State Visit" and "The Phone")[11] included as part of the run by the channel.[12]

In 1981, ATV made six episodes under the title Till Death.... The series had Alf and Else sharing a bungalow with Min (Patricia Hayes) in Eastbourne following the death of her husband Bert (Alfie Bass). Although Rita remained in the cast, Anthony Booth declined to return. Rita's son Michael was now a teenager and a punk rocker (even though he was born in 1972 and therefore should only have been about nine or ten). The series was not a success and when ATV was restructured as Central Television in 1982, Till Death... was not recommissioned.

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