Browsing through the news this week, all I saw were the same stories that have graced the headlines for the past couple of weeks. And that’s understandable.

With the final stretch before Election Day in sight and the wake of devastation Sandy has left, the world is watching and waiting to see the outcome. Regardless, I felt immense fatigue at the prospect of reporting on the same issues that have been rehashed countless times.

So let me tell you one of my foreign guilty pleasures: British television.

I don’t know if it’s something in the water or what — the infamous Thames could be hiding more than just sludge under its murky surfaces — but the Brits know their drama. With their own distinctive British flair for their comedies or the posh, elaborate, period pieces, they can’t fail. Of course, the accents don’t exactly hurt the ratings either.

The U.K. has pretty much coined the Victorian history time period, so when the U.S. tries to emulate a similar TV show or movie, it flops. Of course, no matter how well Anne Hathaway or how poorly Kevin Costner pulls off a British accent, nothing compares to the legitimacy of Colin Firth or Judi Dench. Plus, I always seem to compare every other television actor to Colin Firth’s portrayal of Mr. Darcy — give me a man in a tweed jacket and pair of Wellies and I’ll fall head over heels.

British television is remarkably popular in the states. Shows like “The Office,” “Skins” and “Being Human,” which were created and originally aired in the UK, have made the leap across the pond to be adapted, remade and premiered in the land of the free. Yet, the Americans still haven’t grasped the concept of “if it ain’t broke, don’t fix it.” Instead, U.S. television companies believe they can emulate the success of the TV shows in the U.K., and most times they bloody well fall short.

Part of the reason U.S. television adaptations don’t always bode well is the different way TV shows are created and managed. In the U.S., TV screenwriters focus on a more formulaic approach to developing a series. Most seasons have a set number of episodes and distinct hiatus periods. Meanwhile, British television focus more on a creative approach by not limiting themselves to a set number of episodes and having sporadic breaks in between episodes and seasons to nurture consumer anticipation. Plus, the Brits have castles and moors in their own backyard at their disposal.

Regardless of the differences between American and British television, the main concern facing American society and American-British relations is the third season of “Downton Abbey” has not yet aired in the states.

The popular period piece drama, which is midway into the third season across the Atlantic barrier, is absolutely brilliant. Its fan base transcends geographic distances. Yet, since it is a British show, they air it first in the U.K. This poses a dilemma to anyone who ventures onto social media and happens to have British friends. I understand that this show is a major success, and you are very proud, but let’s not spoil it for everyone prematurely.

With the seven-hour time difference, an unsuspecting American could venture onto Twitter one night and find out all the spoilers before even seeing the season premiere. So the Brits produce quality television, and now they get to control when the rest of the world gets to watch it? For the time being, I must wait unhappily and impatiently. As you can see, I’m just a little bitter.

The popularity of British television versus American television isn’t exactly world news. Yet, it does highlight the differences in culture and business in two different nations. It’s not just the accents that are different. The humor, production and style of these television shows illustrate how two separate countries take on similar cultural and societal issues.

Is it the accents or the fact that any man dressed in an old English suit and top hat is infinitely more attractive than one in baggy jeans or sweatpants? I don’t know, but the Brits do it right. And by it, I mean television drama.