The BBC sitcom Ghosts has garnered significant popularity, partly due to its casting of several actors from the children’s program Horrible Histories. This connection to historical figures works well, as Ghosts features characters from different eras, despite being aimed at a more adult audience. The show’s success since its 2019 debut led to a US adaptation on CBS in 2021, which also proved to be a hit. The original British Ghosts concluded in 2023 after three seasons, each typically consisting of six episodes. In contrast, the American version, currently in its fourth season, has already produced more episodes, averaging around 20 per season (with a shortened second season due to pandemic restrictions). While both versions begin with the same basic premise, they have diverged into separate narratives, offering viewers two distinct but enjoyable experiences.

Ghosts UK Season 5

 

Ghosts US Season 4

 

The British Ghosts concluded its run on a high note, leaving viewers with a sense of both satisfaction and a touch of wistfulness. Its strong writing and ensemble cast suggested the potential for many more seasons, but the creators opted for a shorter, more focused narrative arc. While some die-hard fans of the original series remain hesitant to embrace the US adaptation, it has undeniably become a hit in its own right, carving out a distinct identity and garnering a substantial following. A crucial difference between the two versions lies in their comedic sensibilities. The UK Ghosts cultivated a dry, often dark humor, characterized by subtle wit, sardonic observations, and a willingness to explore slightly edgier comedic territory. Think of it as a sophisticated, understated style that rewards close attention and an appreciation for the absurdities of everyday life, even (and especially) when those absurdities involve ghosts. In contrast, the US version leans towards a broader, more accessible style of comedy. While still clever and well-written, it prioritizes heartwarming moments, physical comedy, and a more overtly optimistic tone.

It aims to evoke a sense of warmth and family connection, making it a comfortable and enjoyable watch for a wider audience. This difference in comedic approach is further amplified by the contrasting episode length and season structure. The UK Ghosts typically delivered shorter seasons, averaging six episodes, but each episode was longer, allowing for more in-depth character development, intricate plotlines, and a slower, more deliberate pacing. The US version, on the other hand, embraces the more conventional American sitcom format, with longer seasons consisting of around 20 shorter episodes. This structure necessitates a faster pace, with storylines often resolved more quickly and a greater emphasis on individual episode arcs rather than overarching season-long narratives. While both versions share the fundamental premise of a couple inheriting a haunted mansion, they have diverged significantly in their storytelling, character development, and overall tone, evolving into two distinct and enjoyable shows that cater to slightly different tastes. Ultimately, both versions offer unique pleasures: the UK series provides a more nuanced and subtly comedic experience, while the US adaptation delivers a more broadly appealing and heartwarming take on the ghostly premise.

 

The success of Ghosts has led to the development of further international remakes, including a German version. It’s hoped that these new adaptations will find their own unique voice while retaining the core appeal of the original concept. One interesting point of comparison lies in the “pantsless ghost” characters. In the UK version, Julian is a disgraced politician who died while having an affair. The US version features Trevor, a young stockbroker who, despite initial impressions, didn’t die during a sexual encounter; he actually succumbed to a heart attack brought on by a drug overdose after selflessly giving his pants to a bullied friend. The German adaptation features Joachim, a sleazy insurance salesman, as their equivalent. The romantic poet figure also provides a point of comparison. The UK has the Regency-era poet Thomas, while the US version features Sass, a Native American storyteller from the Lenape tribe. The German version appears to be closer to the UK in this regard, featuring Friedrich Dorn, a poet.

The UK and US versions both feature a pair of scoutmasters who met an untimely end due to an accidental arrow incident: Pat (UK) was killed by a boy scout, while Pete (US) was killed by a girl scout. These characters, along with Kitty (UK), a sweet and innocent Georgian era adopted daughter of a noble man who got poisoned by her sister, and Flower (US), the 1950s fun-loving, sex-positive, ditzy hippie who died from a bear attack, are all combined in the German version into a single character named Svenni, a sweet and lovely teacher who died from an arrow during a school field trip. The absence of separate scoutmaster characters, and the merging of four distinct personalities into one, in the German version is likely due to the sensitive historical connotations of scouting organizations in Germany, which could be uncomfortably reminiscent of the Hitler Youth, as well as a desire to streamline the cast and potentially create space for German-exclusive characters. It’s plausible that this character combination allowed for the creation of German-exclusive characters, much like the US version combined the UK characters of Mary and Kitty to make room for Roberta, a 1930s jazz singer exclusive to the American adaptation. This suggests that each version is not simply a direct translation but rather a creative reimagining that reflects its specific cultural context.

 

 

The oldest ghost in the US version is Robin, a caveman dating back thousands of years. The US also features Thorfinn, a Viking who died after being abandoned by his shipmates and subsequently struck by lightning. Both Robin and Thorfinn possess the ability to disrupt electrical appliances. The German version mirrors the UK’s inclusion of a Neanderthal character with Urs. Both the US and UK versions feature a “lady of the house” character, the original owner of the mansion: Fanny (UK) and Hetty (US). The lead female characters, Alison (UK) and Sam (US), are descendants of these original owners. The German equivalent is Adelheid, a countess who appears to be more aligned with Hetty’s character than Fanny’s. The UK’s Captain is a closeted gay World War II soldier who never publicly acknowledged his sexuality. His American counterpart, Isaac, is a closeted gay Civil War captain who, unlike the Captain, comes out after becoming a ghost. The German version features Claudius, a Roman legionary. Given the more accepting attitudes towards homosexuality in the Roman Empire, it’s likely that Claudius is not closeted. The UK has Humphrey, a headless Tudor ghost who was beheaded as punishment. His American equivalent, Crash, is a 1950s greaser who died in a beheading accident. While Humphrey is a prominent character in the UK version, Crash is largely forgotten by the US writers. No headless ghost has been announced for the German version. The UK’s Mary, a sweet but uneducated woman who died during the witch trials, does not have a direct American equivalent; her character is combined with Kitty to create Flower. However, the German version features Griet, a feminist maid who was likely also accused of witchcraft. Finally, mirroring the interracial couples who lead the UK (Alison and Mike) and US (Sam and Jay) versions, the German version also features an interracial couple, Emma and Felix.

 

Beyond Germany, other international adaptations of Ghosts are in development, including versions for Australia, Greece, and France. The French adaptation is taking a unique approach by combining the “lady of the house” (Fanny/Hetty) character with the headless ghost (Humphrey/Crash) character, resulting in a Marie Antoinette-esque figure. This creative choice raises intriguing possibilities for the character’s backstory and comedic potential. The prospect of further international remakes is exciting, and it will be fascinating to see what kinds of ghosts each culture chooses to represent. An Asian adaptation, in particular, holds immense potential, as it could introduce a wealth of new and culturally specific ghostly figures, drawing from rich folklore and traditions that differ significantly from Western ghost stories. The unique cultural context of each remake promises to bring fresh perspectives and comedic interpretations to the beloved Ghosts format.