|The Tracey Ullman Show|
|Theme music composer||George Clinton|
|Opening theme||"You're Thinking Right"|
|Country of origin||United States|
|No. of seasons||4|
|No. of episodes||81 (+1 special)|
|Distributor||20th Century Fox Television|
|Picture format||480i (4:3 SDTV)|
|Original release||April 5, 1987 -|
May 26, 1990
|Followed by||The Simpsons|
|Related shows||Tracey Takes On...|
The Tracey Ullman Show is an American television variety show starring Tracey Ullman. It debuted on Fox on April 5, 1987 (the network's second original primetime series to air following Married... with Children) and ran until May 26, 1990. The show was produced by Gracie Films and 20th Century Fox Television. The show blended sketch comedy with musical numbers and dance routines, choreographed by Paula Abdul, along with animated shorts. The format was conceived by creator and executive producer James L. Brooks, who was looking to showcase the show's multitalented star. Brooks likened the show to producing three pilots a week. Ullman was the first British woman to be offered her own television sketch show in both the United Kingdom and the United States.
The show is also known for producing a series of shorts featuring the Simpson family, which was later adapted into the longest-running American scripted primetime television series, The Simpsons. The Tracey Ullman Show garnered Fox its first ever Emmy nomination and win; it was awarded a total of 11.
This was the first sketch comedy show to have a female star on Fox; the second was Party Over Here in 2015.
A typical episode of The Tracey Ullman Show consists of two or three sketches (or playlets) featuring Tracey Ullman playing an array of characters along with her supporting cast of Julie Kavner, Dan Castellaneta, Sam McMurray, Joseph Malone - and, in the case of season three, Anna Levine. The final sketch of the night usually includes a musical or dance number featuring Ullman either solo or with other members of the cast. Paula Abdul was responsible for choreographing all of the show's dance routines. Interstitial cartoon shorts (Dr. N!Godatu, The Simpsons) were featured before and after each commercial break.
The show's producers toyed with the format during the show's first season. A variety act was added and then scrapped by the third episode. Ullman began opening the show as herself by episode five; this was dropped altogether by season 3 in favor of an elaborate opening title sequence.
The final segment of all four seasons sees Ullman, clad in a pink robe, delivering a closing monologue to the studio audience before ending the show with her signature catchphrase, "Go home! Go home!" and dancing as the credits roll. She chose the phrase "Go home," because she couldn't think of anything clever to end with. Her closing monologue is, "Oh, you got sore bums. Go home!"
British actress, comedian, singer, and former dancer, Tracey Ullman was encouraged to try and break into American television by her husband, British producer Allan McKeown, who was looking to go into business in the United States. Ullman, who was already a household name in her native England, had already been making the rounds in the US promoting her film and music career in the early 1980s. Unlike in England, Americans weren't aware of her comedy background outside of humorous appearances on The Tonight Show Starring Johnny Carson and Late Night with David Letterman. Ullman already had three British comedies under her belt, garnering her awards and accolades. "I didn't believe there was anything above Webster standard [in America]. I was wrong." Her British agent put together a compilation of her work and began circulating it around Hollywood. Her tape landed in the lap of Craig Kellem, vice president of comedy at Universal Television. "I could not believe my eyes. It was just about the most extraordinary piece of material I'd seen in a long time." He wanted production on a series to begin immediately for her.Saturday Night Live scribe and creator of CBS's Square Pegs, Anne Beatts was hired to write the pilot. Universal liked the script; Ullman reportedly threw her hands up in the air, hating it. Recalling the project: "We'd just hit on an idea, then some white-haired executive - very, very important - would come in from the race track and say, 'I don't like that idea. I think Tracey should be a caring person. I think there should be a kid in this. Now, I'm just pitching here. I don't know if this is funny. But I think Tracey should love this kid and maybe there's a moment where she tells the kid something about life.' And I'd say, "Look - I don't want to work with little kids being cute who I eventually adopt'."
Ullman's new agent, Martha Luttrell sent her tape to James L. Brooks who had a deal with Fox. Fox, dubbed America's "fourth network," was looking to create its own brand of original primetime programming. Brooks was bowled over by Ullman's material. "I saw original talent, and how often does that happen to you?" "I started showing [her work] to people like you'd show home movies." "I was just startled by the size of the talent. I got chills." Ullman explained to Brooks her situation at CBS and the fact that she was now pregnant. Her convinced her to get out of it and after she had her baby they would do a show together. Brooks felt that a sketch show would best suit her assets (acting, singing, and dancing). "Why would you do something with Tracey playing a single character on TV when her talent requires variety? You can't categorize Tracey, so it's silly to come up with a show that attempted to."
To ensure that she was well-versed in American comedy, Brooks began sending her tapes of American sitcoms and variety shows to watch and study. Ullman also began visiting and spending time at the Museum of Television & Radio.
"After I made [the 1985 film] Plenty, I thought it was sad that everyone left London to go home to Hollywood. Thought I'd join 'em. [...] I thought of myself as a Peter Sellers type. No one does American accents better than him. Look at Dr. Strangelove and Lolita." As one critic noted, Sellars had American director Stanley Kubrick as his visionary and Ullman would get American television and film director James L. Brooks, the man behind such hit television shows as The Mary Tyler Moore Show, Taxi, Rhoda. and the films Terms of Endearment and Broadcast News. "I came to America in 1985 and James made me stay. If I had a mentor like him in Great Britain, I would've stayed there."
"Variety hadn't been done for sometime and we wanted to do a show that would allow me to do the things I like to do and can do," stated Ullman in 1987. "I think, literally, the word unique and mean it," said James L. Brooks in regards to Ullman's talent. "We're so obsessed with comparisons. The only one I could even think of that comparing her to is Peter Sellers - he's the only one you can mention. He could do a variety of Americans. And then you have to add that Tracey sings and dances."
The key to getting Ullman ready for primetime was "assembling the right people" according to Brooks. Brooks, along with co-executive Brooks, Jerry Belson, Ken Estin, and Heide Perlman went on a retreat in Northern California to think through the show. "We wanted to tell a story, to be involved in character. We did not want to do spoofs or takeoffs. You define a show by what you don't want want to do as well as by what you do. We rushed on the air and have been finding the show while we're on the air. You lose a lot of sleep that way, but it's great. Now we have five or six characters that we repeat from time to time, and new ones are candidates for repetition." When it came to Fox, Brooks stated, "It was helpful for us to do the show without any preconceived context. Not only were we new, but so was Fox. There was no notion of something to fit into." Fox was reportedly backing the show with nearly $1,000,000 per broadcast. The series landed an initial 26 episode commitment deal, unheard of for a television comedy; Fox ordered a further 30 episodes in October 1987. Describing the show proved difficult; creator Ken Estin dubbed it a "skitcom."
An array of original and diverse characters were created for Ullman to perform. Extensive makeup, wigs, teeth, and body padding were utilized, sometimes rendering her completely unrecognizable. One original character created solely by Ullman back in Britain that was uprooted for the show: long-suffering British spinster Kay Clark. Kay was based on a real woman who worked in a Midlands bank that Ullman kept in touch with long after leaving Britain for the United States. "Kay" would ask her about Hollywood on the telephone; Ullman would subsequently do the voice she heard on the other line to her dog.[a] She had been obsessed with spinsters ever since she was a small child and kept a mental file on them.[b] She never saw "Kay" and imagined what she looked like. It was "Tracey Ullman Show" costume designer, Jame Ruhm who suggested a drooping bust and cellulite-covered hips for the character. Ruhm created a costume complete with "hydraulic pistons." "Tracey is really, really interested in what her characters look like," revealed show costume designer, Jane Ruhm. "She is constantly going around collecting pictures of people and coming to me and saying, 'I want to do a character dressed like this!' I file that in my memory, and then we'll get a script and I'll say, 'That character that you wanted to do, can we use it on this?' She'll say, 'Yeah!' And we'll go." "It's a real thrill to me that someone like Kay can be famous in America." For other characters, she drew upon people she either knew or celebrities for inspiration. "I based one character on Maggie Smith, which the script supervisor suggested. I remember her in California Suite saying, 'Well, I don't care if I didn't win the fucking Oscar.'... It sounded good. It made me laugh, and then I felt that I could do the character." She based the character Francesca on a neighbor, an awkward teenage girl, who would come to visit her in her kitchen and would sheepishly stand in the corner. "I wanted to portray painful adolescence, but not an adolescent that was spoiled. I'd seen so many that were just, 'Like I really want to go to the movies, and you're totally stupid.' I didn't want to play a horrible kid."[c] Ullman believed in progressing the characters, adamant that they didn't stagnate. "You have to advance the characters [...] you have to find new situations for them [...] They have to do something or say something or grow as people. And they have to be unusual."[d] Like Kay, another character created and performed by Ullman first for British television (Three of a Kind) and then adapted for the Fox show was impoverished housewife Betty Tomlinson.
Producers decided to add animated segments when they had trouble figuring out a way to end one sketch and go into the next. They had considered talking animals, specifically a talking bear. "I don't know why we were so into a bear," explained Ken Estin. "Nobody was in love with that idea, but we just couldn't think of how else to do it. In most variety shows it was just sketches that were so short that they didn't have to worry about from going from one to the next. Nobody had ever really done this before." Estin was given with a drawing of Life in Hell by Matt Groening from Richard Sakai. "It was very different. It was smart. It was unusual. It was drawn poorly, which I thought added the charm [...] I said, 'What if we have this guy do these little cartoons in between the scenes? Is that possible? Does anybody like that idea?' They all said they liked the idea. This is how Matt ended up being our guy." James L. Brooks was also familiar with Groening's work. Polly Platt, producer of his film Terms of Endearment had given him a cartoon called "Success and Failure in Hollywood" drawn by Groening as a gift. Platt suggested that he do a special on the characters. Heide Perlman found another artist to do animated segments - M.K. Brown, who worked for The National Lampoon. She agreed to do a cartoon based around a female psychiatrist, Dr. N!Godatu. Producers stopped hearing from Groening when Fox wanted to take over Life in Hell merchandising as part of his deal, resulting in his passing on the project. Estin asked Sakai to ask Groening if he had any characters that he would be willing to allow Fox to merchandise. Groening said that he did have other characters and would send them over for consideration. "Well, two, maybe three days after I spoke to Richard, Matt sends us a drawing of the Simpsons exactly as-well, not exactly-almost exactly as they are. Anyhow, everybody said, 'Fine. That's fine. We like them.' And Matt made his deal with Fox." Eventually, producers found that Groening's work suited the show better than Brown's and her segments were no longer used. Tracey Ullman was approached to do one of the voices of the Simpsons, but with her already spending up to three hours in the makeup chair, adding voice-over work wasn't feasible. Fellow cast member, Julie Kavner then agreed to do it. Groening approached Ullman sporadically about doing a guest voice for the shorts, but with her heavy workload, she never had the time.
Early reports regarding the show's premise were as follows: the focal point would be Ullman starring in one long 12-minute "playlet," a shorter sketch, some music and a weekly lecture from Harry Shearer. The show would start with no pilot and a 26-episode commitment. The show would be produced by Brooks along with some of the top writers from Cheers. Shearer's weekly lecture never materialized.
When it came time to go out and promote the show, Fox only allowed Ullman to tour Los Angeles and New York. In 1988, she insisted that she be allowed to tour Middle America. Never a fan of dialect coaches, this promotional tour would allow her to have ample opportunity to do some character study. "I want to see America a bit, I really do. I've only been to L.A. and New York, and they make very disparaging remarks about Middle America there. I mean, Des Moines, Iowa is the place network executives always talk about, like, "Would they like this in Des Moines?' They think you just want Facts of Life and She's the Sheriff, that you really want that type of television, and I don't really believe that you do. There's no intelligence, no truth in anything like that. I think you want something a bit smarter. [...] We take pictures everywhere [on this promotional tour]; we're taping people's voices. I'm taking it all in, and it's great. Some journalist once said that I was a 'social satirist,' and I thought, 'That sounds quite intelligent, doesn't?' So that's what I'm doing, I'm meeting people from a social satirist's point of view." Whenever she was stuck on particular voice or accent, she would open a phone directory. "If I wanted to do somebody from Brooklyn, I would call the library in Brooklyn and listen to their voice and tape them surreptitiously so they didn't know." Also helping her in her quest for accents was the show's staff. When she had to find a Brooklyn accent distinctive from the Queens accent she used for her character, United States postal worker, Tina, she had the show's staff make a long compilation tape of genuine Brooklyn accents (recordings from radio stations and even randomly placed phone calls placed to random Brooklynites). Ullman would also call car dealerships in different parts of the country pretending to be interested in buying a car just to hear how the people there spoke.
Dan Castellaneta, a relative unknown, was asked to read for the show after he was spotted by Ullman at Chicago's Second City. Castellaneta's portrayal of a blind man who wants to be a comedian brought her to tears instead of making her laugh. He gave up the opportunity to appear in the short-lived sitcom version of the film Nothing in Common in which he appeared in order to star in the Ullman show. "Tracey always says, 'You're so lucky, Dan. You can always go back to Nothing in Common." joked Castellaneta in a 1988 interview. Describing the show, Castellaneta stated, "Essentially what dictates it is that there are no parodies and even if it's an unusual situation, Tracey and (execuative producer) Jim Brooks try to keep things as believable and real. You've got to be honest." He would continue to stay true to his Second City philosophy when playing comedy and characters. "Don't ever do what's expected. Always try to find a different way of doing something. ...Always play to the top of your intelligence. A character should be as smart as you are. And if the character isn't a smart as you are, you can't make a comment about it, you can't make fun of the character." Castellaneta felt that audiences could see right through a character that wasn't done honestly and that The Tracey Ullman Show's audience were both pretty demanding as well as intelligent. "They're people who like something different, they're certainly an intelligent audience. And they're an audience that isn't as easily offended as other people might be." Actress Julie Kavner had co-starred in Brooks' spin-off series to The Mary Tyler Moore Show, Rhoda, starring Valerie Harper. Kavner played Harper's younger, socially awkward sister Brenda, a role for which she won an Emmy Award. Kavner was at the top of the list of people Brooks wanted to be part of the show. Brooks on Kavner: "When somebody's intrinsically funny - you know, in-their-bones funny - they never have to work at (being funny), so they're free to work on other things. We were all nuts about her work. She was the person we most wanted to work with Tracey." Actor Sam McMurray read for a guest spot on the show playing William, lover of thirteen-year-old valley girl Francesca's (Ullman) father. McMurray recalling his casting: "The first Francesca sketch, they said, 'Play the guy not so gay.' And I said 'I disagree.' I had a big mouth then --- still do. I said, 'I think he's more the woman. I think he's more out there.' So I read and I read it big, and they cast me. It was just a one-off, and then we were on hiatus. I did the one week, and I had a friend coincidentally who used to write, a guy named Marc Flanagan, and he was on the show as a staff guy. He called me up and said, 'Did they call your agent?' I said, 'No, why?' He said, 'They wanna make you a regular.'" McMurray, who didn't become a full-fledged cast member until the sixth episode didn't find himself feeling terrible comfortable at first with the show. McMurray: "[T]he social dynamic of the show is an odd one. I spoke with (executive producer) Jim Brooks about this later and I said, 'You know, it's like we're all square pegs, aren't we?' And he said, 'Yeah,' and that the same thing occurred on The Mary Tyler Moore. Everybody was from a different disciple on that show, - somebody had been from sitcoms, somebody came from the stage and somebody had been a stand-up comic, and yet whatever the dynamic that was forged from it, it's singular and it works." The last to be cast was dancer Joseph Malone. Malone was originally hired for a guest shot- acting as a cop who also danced with a possible jumper on a ledge, led to him becoming a series regular. He had worked with acts such as Michael Jackson, Lily Tomlin and Barbara Mandrell. The show now had its cast. During the 1987-1988 season, Julie Kavner asked to be let out of her contract in order to be able to concentrate on making movies; Kavner had been living in New York while The Tracey Ullman Show taped in Los Angeles. Actress Anna Levine was subsequently cast with Kavner putting in special appearances.
James L. Brooks knew the importance of good writers and quickly assembled a team for the show, most notably, Heide Perlman and Ken Estin of Cheers fame. Estin also worked on Brooks's Taxi. The pair would also act as executive producers. Also joining the team was Jerry Belson; he also acted as executive producer. Belson had written for such television comedies as The Dick Van Dyke Show. Belson was the writer Ullman warmed to immediately; he was always in her corner. In an interview with The Nerdist Podcast, she recalled Belson saying, "'Leave her alone, Jim, she's tired.' [...] He was one of those funny writers that if you said that you didn't like a joke in the room, he'd say, 'What is this, Nazi, Russia?'" When they won an Emmy, Belson's response was, "This is my first Emmy in color."Sam Simon, like Estin, wrote for Taxi, as well as executive produced the show. Brooks discovered writer Marc Flanagan after watching a piece performed by Meryl Streep and Kevin Klein at a benefit. He asked to speak to the writer and kept him in mind when he worked on the Ullman show as writer and producer.SCTV writers Dick Blasucci and Paul Flaherty wrote and co-produced as well.
For each show, a table read would take place on Monday mornings in the presence of writers and producers. It was not unusual for rewrites to go past midnight. What worked in the writers room would sometimes fall flat once in the hands of the actors. The best readings were the result of numerous rewrites. "I love cracking a run-through," said Ullman in 1989. "It's like a drug. If I can get them looking at me and respecting me, and thinking, 'She's done it!' - it's the best feeling.'" But she knew that the only performance that truly counted was the final one recorded in front of a live studio audience. "You just gotta pray you hit that happy, energetic mood on Friday." The cast rehearsals would take place into lunch and dinner hours, usually under the tutelage of director Ted Bessell. At around 3:30 PM each day, writers and producers, led by James L. Brooks and Jerry Belson, would arrive for a run-through. They would observe, shout out suggestions, make additions, subtractions, and work out any kinks in the production. The show would then be ready to tape by Friday at 7 PM One "writer" frequently credited on the show, Bonita Carlisle, was actually a nom de plume chosen by the writers room indicating that the sketch had been a group effort. Guest stars such as Steve Martin and Mel Brooks also got heavily involved in their sketch's writing as well.
While the Fox network was pretty liberal when it came to the material it would allow the show to put on, by 1989, after controversy stemming from Married... with Children, the network's Standards and Practices department began monitoring the scripts and kowtowing to advocating groups. A sketch consisting of a nun (played by Ullman) a priest and last rites was pulled mid-production. Producers were given the option of either watering down the skit or not doing it at all. Ullman had no problem with the piece. Brooks responded: "They're smart enough to know that they can't have a bland network that responds every pressure and be successful ... If we really believe a piece should be broadcast, then we will take a stand. We do care about doing characters accurately and in them taking a comic view of life. But when censorship interferes with that, we've got to scream."
George Clinton was hired to write and perform the show's funk-infused theme song, "You're Thinking Right." Brooks hired animation and graphic design company, Klasky Csupo to design the show's title sequence. It would become the studio's big break. In addition to handing the show's opening, they would also produce the show's animated bumpers. The opening title sequence in seasons 1 and 2 followed a brief introduction by Ullman to the studio audience. For season 3, however, the opening intro was scrapped, and in its place, a live-action farce: Ullman pulls up to the 20th Century Fox lot in her car and hits a pedestrian. She attempts CPR in front of onlookers and revives her victim. She then rushes into the studio and meets George Clinton; a person tries to get her opinion on a costume; Paula Abdul attempts to go over choreography with her. Next, she visits the makeup room and greets her fellow cast mates - this includes the Simpson family. She then looks at a pushpin board and stills of that week's sketches are posted. Season 4 featured a similar title sequence to the first two seasons.
After four seasons, Ullman decided to end the show stating that she was "constantly challenged and happily tortured by a unique group of people." She also thanked Fox "for letting somebody no one ever heard of do a show on a network that didn't exist." Brooks stated that The Tracey Ullman Show was "the hardest work any of us ever did, and we would have continued forever if she had wanted us to [...] I'm just glad I appreciated it as it was happening and not just in retrospect ... Tracey is one of the most talented people alive." The show earned Fox its first-ever Emmy Award, raking up a total of 13 nominations, garnering 4 wins, by the end of its run.
Brooks didn't mince words when it was announced in 1992 that Fox chairman, Barry Diller was stepping down. "I thought The Tracey Ullman Show should have stayed on as long as she wanted to do it." Diller had been dragging his feet in renewing the show. Tired of waiting, Ullman decided to pull the plug herself. When Ullman and the show won at the 1990 Emmy Awards, newspaper critics hailed: "Tracey Ullman Gets Last Laugh." Later, Ullman admitted that she would have liked an additional year to try out all the characters she wanted to play. However, she was proud of what they achieved: "no compromises, no giving up, always wanting the best."
|First aired||Last aired|
|1||13||April 5, 1987||July 19, 1987|
|2||22||September 27, 1987||May 8, 1988|
|Special||October 30, 1988|
|3||22||November 6, 1988||May 21, 1989|
|4||24||September 10, 1989||May 26, 1990|
Over the course of four seasons, Tracey Ullman played upwards of 100 characters; some were repeated but not on a weekly basis. The show's supporting cast also had their own characters- usually playing opposite Ullman's, but sometimes in solo sketches of their own. The following is a list of recurring characters performed by Tracey Ullman, Dan Castellanta, Julie Kavner, and Sam McMurray. They are listed in order of appearance.
The Tracey Ullman Show regularly featured short animated cartoons as interstitials in the first three seasons. There was no recurring cartoon during season 4.
Dr. N!Godatu was a series of animated shorts created by M.K. Brown, and animated by Klasky-Csupo. It was seen during season 1 only, and was the first cartoon seen on Ullman's show. The shorts followed the somewhat surreal life of Dr. Janice N!Godatu, who calmly and cheerfully addressed the camera as she detailed her latest misadventure. The character was voiced by Julie Payne.
The feature appeared in the first two Ullman episodes, then alternated more-or-less every other week with the Simpsons shorts (see below). After appearing 6 times, Dr. N!Godatu was dropped at the conclusion of the first season of Ullman's show. Two additional Dr. N!Godatu cartoons that were prepared for the show never aired.
The Simpson family debuted in short animated cartoons on The Tracey Ullman Show, beginning with episode 3 of the first season. The shorts originally were presented on an occasional basis, alternating episodes with Dr. N!Godatu. However, the reaction to the Simpsons shorts was very positive, and after appearing 7 times during season 1, the feature was quickly promoted to full-time status, appearing in every episode of seasons 2-3 before being spun off into their own half-hour series. These shorts, also called "bumpers", aired before and after commercial breaks during the first and second seasons of the show. They eventually had their own full segments in between the live action segments during season three. Except for a repeat airing of the short "Simpson Xmas," they did not appear in the fourth and final season of The Tracey Ullman Show, as they had their own half-hour TV series by then.
All of them were written by Matt Groening and animated at Klasky-Csupo by a team of animators consisting of David Silverman, Wes Archer, and Bill Kopp. Tracey Ullman Show cast members Dan Castellaneta and Julie Kavner provide the voices of Homer Simpson and Marge Simpson respectively. In the beginning, the drawings appeared very crude because the animators were more or less just tracing over Groening's storyboards, but as the series developed, so did the designs and layouts of the characters and the "Simpsons drawing style" was ultimately conceived. This style evolved even more throughout the first few seasons of The Simpsons and was used more than a decade later on Futurama, another animated series created by Matt Groening.
While the show was a critical darling, it was never a ratings juggernaut; although none of the early newly launched primetime Fox network shows generated a significant return (Fox didn't crack the top 30 in the Nielsen ratings until 1990 with The Simpsons). On the show's ratings, Fox president, Jamie Kellner was quoted in 1988 as saying, "We're too new new to be discouraged by ratings [...] It's true that it's harder to discover Tracey on Fox than on NBC." But as critic Howard Rosenberg of The Los Angeles Times and The Washington Post pointed out, it was probably easier for her to survive, as the show she was producing was probably too "rule-bending" for NBC to be interested in in the first place.
The show faced practical obstacles reaching viewers, one of which was the network broadcasting via UHF signal. Ullman was personally critical of Fox messing with the show's timeslot, something network chairman Barry Diller would later concede. "I think there was real anger about the shifting time a lot, and that it was legitimate. Networks do many things that are not necessarily in the interests of a particular show, and those things are not always smart. We had a very large audience for a very special show-but it wasn't large enough. Certain things take time. As the world speeds up, the rhythm of this show will become consistent with the rhythm of the audience. But it might take ten years. I think the eighty-something shows they did will be like The Honeymooners. I don't know when. But it's going to be pure, driven gold. We expect to get every nickel back. Plus, plus, plus." "It should've been on Sunday night. I think a great lineup would've been The Simpsons followed by Tracey, on Sunday night.", said Matt Groening in 1991. Despite its issues in the ratings, the show retained a devoted fan base and became a cult hit up until the end. It also helped the Fox network gain credibility within the industry. Married... with Children, the series which launched the same night as the Ullman show, was mired in controversy and soon became branded lowbrow humor.
The show won 11 a total of Emmy Awards including Outstanding Variety, Music or Comedy Program in 1989 and 1990, and Outstanding Individual Performance in a Variety or Music Program in 1990. Also in 1989, choreographer Paula Abdul won the Primetime Emmy Award for Outstanding Choreography for her work on the show.
When The Tracey Ullman Show first appeared in Ullman's native England, the BBC decided to cut six minutes from the show, specifically the Simpsons shorts. "The BBC said the only thing they didn't like about the show was those weird little animated characters and suggested maybe they could get rid of them because they would never catch on," recalled Ullman. Despite their aversion to the cartoon shorts, she attempted to convince the broadcaster to buy the rights to The Simpsons television series, telling them it would be a mistake not to; Sky ended up buying the show.The Tracey Ullman Show aired on BBC Two in the UK and ABC in Australia.
To date The Tracey Ullman Show has never been commercially released through any home media platform. In 2017, in an interview, Tracey Ullman theorized that music clearance issues may be the reason for this.[l] A selection of the Simpsons shorts were released from 1997 through 1999 on The Simpsons VHS home video releases. The sketch "Due Dilligence" featuring actor-comedian Mel Brooks was released as an extra on The Incredible Mel Brooks: An Irresistible Collection of Unhinged Comedy in 2012.