Nice

Bruce Forsyth: an appreciation written for, but not used by, the Guardian

The melodramatic phrase, “We may never see his like again,” is overused. But in this case, we have a pressing question on our hands: who will ever fill the shoes of Bruce Forsyth?

Always light on his dancer’s feet, he was the very definition of the beloved entertainer. An all-rounder, a song-and-dance man, a music-hall act (the Mighty Atom) at 14, a concert party natural during the war and a dogged veteran of summer season, club bill and panto until the London Palladium beckoned, and thereafter a household name who was barely off our TV screens for six decades. He could sing, he could tap, he could tell jokes, he could almost act (people forget that he took over Leonard Rossiter’s starring role in Thames TV’s supermarket-set sitcom Tripper’s Day in 1986, the Trollied of its time), but much more than this, he could host.

When, in 2012, “Brucie” entered the Guinness Book of Records for having the longest career of any male TV entertainer – with, at the time, only former Golden Girl Betty White to beat to the all-gender title – we were reminded that his first appearance on the box was in 1939 at London’s Radiolympia exhibition when he was 11 years old, doing the old soft-shoe on what might be considered an early draft of The X-Factor, Come and Be Televised.

The footage may be long lost, but we know that Bruce Joseph Forsyth-Johnson came and was televised. And we can assume that television liked him, because it kept on televising him until his octogenarian appearances on Strictly were the butt of a thousand affectionate jokes. (He was quipping self-effacingly about being “doddery” as far back as series six, when he was a sapling of 80.)

Like one of those sweet granddads you see on local TV news who are still stacking shelves in B&Q with no intention of retiring, Bruce lived to work. (He even described his other passion, golf, as “masochistic”.) He was the kind of entertainer who, if he broke into a spontaneous verse of It’s Impossible and nobody heard, may as well have not have broken into it at all.

Those of my generation grew up with him. Too young for his first peak of TV ubiquity at the helm of Sunday Night at The London Palladium in the late 50s/early 60s (and, more pertinently, as adept crowd marshal of its frantic game show Beat the Clock), we clasped him to our collective bosom during his second wind at the helm of Bruce Forsyth and the Generation Game in the 70s, his household name already in the title.

The announcer called it “family fun”, and its selling point was to bring parent and sibling generations together to compete in games of guesswork, memory, vocational karaoke and physical humiliation. It’s hard to think of a more effective familial glue than the weekly edition at 6.30 on a Saturday evening. A grinning, avuncular natural with the public at a time when the public were tongue-tied and shy, he would look askance to camera or grimace offstage, saying, “We’ve got a right one here!” or “Where do you find them?” without losing a single passenger. (I remember one young contestant in less than formal attire being greeted with the off-the-cuff remark, “Did you come here on your skateboard?”)

In the 1973 Christmas special that Generation Game staple the amateur-dramatic finale featured Frankie Howerd in Cinderella. Soaking up the studio applause on his entrance, he gestures back at Bruce, playing Buttons, and says, “Isn’t he looking old these days? No wonder they call it Snow White.” Bruce was 45, but his fuzzy mutton chops were already more salt than pepper and his fringe was well on its way over the crest of the hill. I wasn’t alone in thinking of him as an older man in the 70s than he was in the 90s.

Although the descriptive tramline wrinkles multiplied around his eyes and smile, and a moustache added gravitas, by the time he was hosting ITV’s You Bet in the late 80s, the hair was darkened and combed forward. His toupée was entertainment’s worst-kept secret, but Brucie would bristle if interviewers brought it up. He looked a lot better with it than before it.

Poached from the BBC by ITV in the late 70s, it didn’t matter which of those two impostors had him under contract, as he always took his catchphrases with him for continuity. Whether fronting the irresistible call-and-response of Play Your Cards Right or ill-advised, voice-activated rounds of computer tennis on Bruce’s Big Night, it was always nice to see him, to see him nice. (Big Night was a rare lapse of judgement in that 76-year career, an act of network hubris that saw him take over the whole of Saturday night in the winter of discontent in 1978 and get beaten in the ratings by The Generation Game under new host Larry Grayson.)

In 1997, the year he joined the hallowed ranks of Kenneth Williams, Billy Connolly and Peter Ustinov with his own An Audience With … for LWT, he told an interviewer, “I feel death coming nearer.”

Of the all-rounders, he even outlived Ronnie Corbett. If not for Ken Dodd, he would have been the last family entertainer standing from that concert-party generation who earned their spurs on the club circuit and built empires around themselves in the voracious vacuum of telly in the 60s and 70s. But as the next wave came – Cannon & Ball, Jim Davidson, Little & Large – their forebears proved remarkably resistant and only premature death (or in Mike Yarwood’s case stage fright and alcoholism) removed them from the stage on Saturday nights.

Retiring in 2015 but never shy, Brucie ended his record-breaking career in a massive Saturday teatime blockbuster, still twinkling, still soft-shoeing, still grimacing offstage; he was surely the most resilient of them all. We had a right one here. As for a replacement in all of the fields in which Forsyth excelled – where do you find them?

 

 

 

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So, 2016 then. Everybody begins everything they say now with the prefix “So …”, as if perhaps what they’re about to say is a continuation of a previous statement, but actually isn’t. I can’t be the only person to have noticed this. You hear correspondents doing it when asked to comment on the news. You hear contestants doing it when they’re asked to describe the dish they’re about to prepare on Masterchef. Young people seem unable to start a sentence without it. It’s a tick; more like a punctuation mark than a word – a deep breath if you like. Like “like” it has crept into common verbal usage (you’ll note that nobody uses it in written text) and it means literally nothing, as with so much in contemporary dialogue.

So … it was way back in that prelapsarian age that was the second week in January when Squeeze, a band whose original members are around 60 years old, used a performance on the BBC’s Andrew Marr Show to protest against fellow guest, then-Prime Minister David Cameron.

They changed the lyrics of hit Cradle to the Grave to sing the line: “There are some here who are hell bent on the destruction of the welfare state,” with that preening waste of space Cameron watching. Glenn Tilbrook also slipped in the line: “I grew up in council houses, part of what made Britain great.”

It did not bring down the venal Tory government. In fact, the Tory government continued to destroy the welfare state, along with much else when it held a referendum without at any point thinking through what might happen if the British public voted “Non!” to staying in the European Union. Cameron did way more than kill the welfare state, he sleepwalked the electorate into an abyss, and then resigned five minutes after the votes had been counted so that he could spend more time with his money. The political picture has largely been dominated by quitting, and not quitting in the case of Jeremy Corbyn, who is Westminster’s mystery man. They seek him here, they seek him there. I stuck with him for way longer than he deserved, if only to disavow his fellow Labour MPs who sought only to stab him in the back while Rome burned all around them. It has been a shoddy display from them all.

You’ll note that 10 January, the day Squeeze made their valiant protest, is also the day David Bowie died, and with him, the universe. This year has been fucking awful. From Brexit to Trump, via Brietbart, post-truth, alt-right, fake news, black lives not mattering, saying that ice cream is gay, and acts of terror that almost became business as usual amid more unexpected deaths of the supremely talented than any other in living memory, the only response to the passing of 2016 is to say, “Fuck you!”

So, here are my books of the year.

What was once a refrain has hardened into a truth. Most of my reading happens between the covers of the New Yorker magazine, which has the temerity to arrive on a weekly basis on my doormat (and which feels even more vital since Trump was voted in). However, a nice man at the Mail on Sunday called Neil took it upon himself to send me three books to review in 2016, all of which I enjoyed. They are almost half the books I read. Of the other four, two are by people I know, but both stimulating in their particular fields. And the sixth and seventh are by people who write for the New Yorker, with roots in work they did for the New Yorker: Jeffrey Toobin and Clive James (one of the chapters in the delightful Play All is reprinted verbatim from the New Yorker).

I almost wrote a cover story for Radio Times, but – typically for 2016 – it was rightly superseded by a last-minute tribute to Victoria Wood, who had died. Interestingly, they left Peaky Blinders on the cover in the Midlands, and here it is.

Which takes us to the best telly. With Telly Addict cancelled by the Guardian in April, and revived by UKTV in June, I have spent a lot of the year watching television professionally. And these have been my personal TV shows of the year. Firstly, in pictures.

      

And here they are, in pointless list form.

1. The Crown, Netflix
2. Fleabag, BBC3/BBC Two
3. Versailles, BBC Two
4. Westworld, Sky Atlantic/HBO
5. The Young Pope, Sky Atlantic/HBO
6. Masterchef: The Professionals/Celebrity Masterchef, BBC Two
7. Line of Duty, BBC Two
8. Dickensian, BBC One (cancelled by idiots)
9. Happy Valley, BBC Two
10. The Missing, BBC Two

11. The People Vs. OJ Simpson: American Crime Story, FX/Fox
12. Peaky Blinders, BBC Two
13. Trapped, BBC Four
14. The Great British Bake Off, BBC One
15. Gogglebox/Gogglesprogs, Channel 4
16. The Code, BBC Four/ABC
17. National Treasure, Channel 4
18. First Dates, Channel 4
19. Modern Life is Goodish, Dave
20. The Night Of, Sky Atlantic/HBO

Oh, come on. It’s self-evident from here that these brilliant shows could be in any order:

Game of Thrones, Sky Atlantic/HBO
Thirteen, BBC3/BBC Two
The A Word, BBC Two
The Knick, Sky Atlantic/Cinemax (season two aired at the end of 2015, but early 2016 here)
Deutschland 83, Channel 4
Mr Robot, Universal/Amazon Prime
Planet Earth II, BBC One
Taskmaster, Dave
Grayson Perry: All Man, Channel 4
Billions, Showtime, Sky Atlantic
Ballers, Sky Atlantic/HBO
Hypernormalisation, BBC iPlayer
The Durrells, ITV
Last Week Tonight with John Oliver, Sky Atlantic/HBO
Hillsborough: The Truth, BBC Two (updated after the inquest verdicts)
Brief Encounters, ITV (cancelled by idiots)
Rillington Place, BBC One
Parks & Recreation, Dave (ended in 2015 in the States, but this year, here)
Victoria, ITV
NW, BBC Two
Ripper Street, Amazon Prime/BBC Two

And a special nod to Escape to The Country (BBC One/BBC Two), the show whose 15 series exist forever on a loop, providing harmless dreams to people in towns and cities. Also, Top of the Pops (BBC Four), whose interrupted loop continues apace, racing through 1981 and 1982 this year, and giving constant pleasure to the musically disillusioned.

So … from music on TV to the best LPs. Like books, a finite field.

It’s been a slow year for albums. Once again I’ve relied on 6 Music and Later for information and inspiration, with the added input this year of subscriptions to both Mojo and Uncut, whose compilations have been a source of joy, and helped create this Top 12 in no order. No single album put all the others in the shade, but without C Duncan’s A Midnight Sun (and his previous album Architect, which we only cottoned on to this year; likewise Julia Holter’s Have You In My Wilderness), Radiohead’s A Moon Shaped Pool and Black Star by David Bowie, a few car journeys would have been less enjoyable. Nick Cave’s beautiful, personal, dissonant dirge Skeleton Tree was hard to listen to, and hard to stop listening to. The Kills did it again. And Kate Tempest’s Let Them Eat Chaos has proven impossible to listen to on headphones while simultaneously reading, as it demands your full attention. I like that about it. Dickensian was my favourite TV score LP of the year (the show sadly cancelled), and A Tribe Called Quest’s We Got It From Here … comeback the only hip-hop record I’ve listened to from one end to the other.

For self-evident reasons, I spent much of my waking life listening to film scores, old and new, and doing so has brought peace to my soul. If you’re interested in my Top 10 Film Soundtracks of 2016, and my Top 10 Videogame Soundtracks of 2016, click on these Classic FM links.

Now, my other day job: films.

I’m always torn as to whether or not to put my favourite films in a numbered list. It always seems so arbitrary. My ongoing system is this: I put an asterisk next to every film I see that’s in some way exceptional, and of the 223 films I’ve seen for the first time in 2016 (not all of them films released in 2016), around 80 are starred, although my Top 10 was easy enough to cordon off. The bulk of the films I see as a rule are in English, but the ones that often stand out and stay with me are not. Six out of the Top 10 are English-language (one of them, The Witch, in 17th century English); the others are not. It’s good to see so many unfamiliar names of directors so high up; I don’t believe I had ever typed Grímur Hákonarson, László Nemes or Robert Eggers in previous years, and they made my Top 3 films – and two of those are debuts! Pete Middleton and James Spinney, who co-directed the unique Notes on Blindness, a stunning film, don’t have Wikipedia entries, and neither does their film. I have to say, without Curzon cinemas and, more pertinently, Curzon Home Cinema, this list would be considerably less colourful and varied.

1. Rams | Grímur Hákonarson (Iceland/Denmark)
2. Son of Saul | László Nemes (Hungary)
3. The Witch | Robert Eggers (US/Canada)
4. Spotlight | Tom McCarthy (US)
5. I, Daniel Blake | Ken Loach (UK/France/Belgium)
6. Rogue One: A Star Wars Story | Gareth Edwards (US)
7. Mustang | Deniz Gamze Ergüven (Turkey)
8. Embrace of the Serpent | Ciro Guerra (Colombia/Venezuela/Argentina)
9. The Clan | Pablo Trapero (Argentina)
10. Notes on Blindness | Pete Middleton, James Spinney (UK)

11. The Childhood of a Leader | Brady Corbet (UK/France)
12. Fire at Sea | Gianfranco Rosi (Italy)
13. Life, Animated | Roger Ross Williams (US)
14. Hail Caesar! | Joel Cohen, Ethan Coen (US)
15. The Survivalist | Stephen Fingleton (UK)
16. Victoria | Sebastian Schipper (Germany)
17. Arrival | Denis Villeneuve (US)
18. I Am Not a Serial Killer | Billy O’Brien (Ireland/UK)
19. Paterson | Jim Jarmusch (US)
20. Chi-Raq | Spike Lee (US)

21. The Revenant | Alejandro Gonzalez Iñárritu (US)
22. The Hateful Eight | Quentin Tarantino (US)
23. I Am Belfast | Mark Cousins (UK)
24. Wiener-Dog | Todd Solondz (US)
25. Cemetery of Splendour | Apichatpong Weerasethakul (Thailand)
26. Sully | Clint Eastwood (US)
27. Julieta | Pedro Almodóvar (Spain)
28. Green Room | Jeremy Saulnier (US)
29. Things to Come | Mia Hansen-Love (France/Germany)
30. Room | Lenny Abrahamson (Ireland/Canada)

Thanks to my continuing tenure at the helm of Saturday Night at the Movies on Classic FM once again I was lucky enough to speak at length to these people about film music this year.

It has been a terribly busy year, and I did not get out to art exhibitions. Which makes Georgia O’Keeffe at Tate Modern a rare and thrilling treat. In the perfect pairing below, you can see O’Keeffe’s painting of the same Manhattan view captured in a photograph by her then-husband Alfred Stieglitz, one of the many illuminations in the way the exhibition was laid out.

I went to the theatre twice and loved both productions I saw.

Hangmen at the Wyndhams in London’s shittering West End by Martin McDonagh (whose film In Bruges I loved), a terrific black comedy about the last days of hanging, with David Morrissey as Britain’s last hangman, now running a boozer. The cast was further ennobled by Craig Parkinson, Andy Nyman, Johnny Flynn and Sally Rogers, and newcomers Bronwyn James and Josef Davies – not to mention the ingenious set. Because I know David and Craig, I met them for a drink afterwards in a theatre hangout and bathed in the cast’s glow. It must be tough doing the same thing at the same level of intensity every night. Mind you, they may not have any lines to learn, but we must give thanks to the dancers from Matthew Bourne’s company who threw themselves hither and thither in the name of bringing that beloved Powell and Pressburger film-about-a-ballet The Red Shoes to Sadlers Wells and turning it back into a ballet-about-a-ballet. This was our Christmas treat. It may not have been Christmassy – in fact, as you may know, it’s a tragedy – but it lit advent up all the same. I love watching dance. It’s not just the sight, it’s the sound of their physical exertion that makes it so special. Watching it on telly just doesn’t capture it.

In terms of live entertainment, I was privileged to see Billy Bragg and Joe Henry premiere their Shine A Light album at St Pancras Church in London in August. It’s a fine item to own, but seeing and hearing it essayed up close and personal was a rare pleasure. I’ve hosted a number of panels and Q&As, which means I was lucky to meet a whole host of interesting people in the arts: James Buckley, Paul Kaye, Louise Emerick and Ken Collard from the Dave sitcom Zapped; Maxine Peake and the original stars of The Comic Strip Peter Richardson and Nigel Planer for their latest escapade Red Top, also featuring Stephen Mangan and Eleanor Matsura; plus, the entire cast and crew of Peaky Blinders on two occasions: at the press launch and at the BFI (greedy!), an association with an ongoing show that I’ve loved being an ephemeral part of.

It was a hell of a year. Enough to turn your hair grey. George Michael, Liz Smith and Carrie Fisher finished off the year in the manner in which it began. I was glancing down the UK “trending” topics late on Christmas Day and felt warm inside when I double-checked that all ten were related to telly programmes, on the telly. No capital cities, no celebrity names, no hashtags that began with #PrayFor. I went to sleep before 11pm satisfied that we’d made it through one day at least without the death knell tolling. I woke up on Boxing Day to the news that George Michael had been found dead, alone, at his home, the previous afternoon.

Feast, if you can, on all the amazing art and culture that was produced by the still-alive in 2016. It has to give us hope that perhaps the human race en masse isn’t hellbent on self-destruction, just a toxic few.

I am slightly fearful of pressing the “PUBLISH” key with three days left to go. But nobody ever won Masterchef that way.

 

Inevitable Postscript: Debbie Reynolds, died a day after her daughter, on December 28, aged 84.

2015: the year in TV

It’s been a momentous year for television. Mainly in the sense that I entered the world of a TV show that I love, Gogglebox, which proceeded to take over my life when I was tasked with the labour of love that was writing the official Gogglebox book for Christmas. When I say it’s a show I love, that love has not been reduced or tainted by the privileged position of having met, interacted and forged modest bonds with its participants. Do you get me?

Although I have met, interviewed, interacted with on Twitter and worked in real life wife a large number of actors, writers, directors and other key crew on TV shows, and toil silently in the backroom on scripts for most of the time (most of it, this year, in the basement of development), my most important relationship with television takes place in my living room, or at my computer. And that’s fine with me. For the time being.

There is always a danger when you meet your heroes that they turn out to have feet of clay. As a viewer, I always regarded the Gogglebox families and couples not as heroes, or gods, or celestial beings, but something even stranger: as close friends. Being invited across their threshholds during April and May this year to meet their pets, drink their coffee, eat their biscuits and use their facilities was a cosmic experience unlike any other in my quarter-century in the media; not only does Gogglebox infer intimate knowledge on the besotted viewer (and there are more of us now than ever before), it makes you feel as if you know your way around the houses, even though you don’t, as you only ever view them through one permanently fixed frame. Thanks to the book publisher Macmillan, I was able to go through the looking glass. It has been a rare treat, one not to be repeated. I’m proud of the book. I hope it raised some smiles this Christmas.

Back in front of my own TV, on the appropriate side of the glass, I watched loads of great telly. I shall list my Top 26 in no particular order, although you may have heard me say already that season two of HBO’s The Leftovers was my favourite show of 2015, just as season one of this beguiling, heartbreaking drama about loss and grief was my favourite show of 2014. The news that HBO have ordered up a third (albeit final) season made my year. It’s also right and proper to name two talented British TV writers, each responsible for two dramas in my Top 26: Jack Thorne (The Last Panthers; This Is England 90 – co-written with Shane Meadows), and Sarah Phelps (the adaptation of And Then There Were None; one episode of Dickensian, story by Tony Jordan). There are two shows with Peter Kay in. Two with the actor David Dawson in. Two with Jerome Flynn. And so on. It’s natural to genuflect to America, but we’ve still got the old magic here.

The Leftovers, HBO (thus Sky Atlantic)
Detectorists, BBC Four
First Dates, Chanel 4
The Last Kingdom, BBC Two
The Last Panthers, Sky Atlantic
Fargo, Fox
Catastrophe, Channel 4
Gogglebox, Channel 4
Wolf Hall, BBC Two
This Is England 90, Channel 4
Unforgotten, ITV
Cradle To Grave, BBC Two
The Walking Dead, Fox
Dickensian, BBC One
The Bridge III, BBC Four
1864, BBC Four
The Game, BBC Two
Ripper Street, Amazon/BBC One
Peter Kay’s Car Share, BBC Two
Masterchef: The Professionals, BBC Two
Last Week Tonight with John Oliver, HBO
Game Of Thrones, HBO
The Frankenstein Chronicles, ITV Encore
Sound Of Song, BBC Four
Modern Life Is Goodish, Dave
And Then There Were None, BBC One

Having sifted 26 to the top, let’s doff the cap to another batch, all of which have entertained or informed me, in some cases both, and gripped me to the last episode (or in the case of the single drama The Go-Between, gripped me to the end of the only episode). In another year of countless first episodes dutifully watched and second episodes left untouched (From Darkness, River, season two of The Returned, Witnesses, Cuffs), sometimes through sheer bulk of telly to get through but mostly due to failure of engagement, I really appreciated those shows that pulled me back in and had me ’till goodbye.

Inside No. 9, BBC Two
Poldark, BBC one
Toast Of London, Channel 4
The Hunt, BBC One
True Detective, HBO
Broadchurch II, ITV
The Go-Between, BBC One
The Saboteurs, More4
Prey II, BBC Two
The Good Wife, More4
Penny Dreadful, Sky Atlantic
Lewis, ITV
Mad Men, Sky Atlantic
The Daily Show (prior to Jon Stewart leaving), Comedy Central
W1A, BBC Two
Veep, Sky Atlantic
Looking, Sky Atlantic
The Man In The High Castle, Amazon
Togetherness, Sky Atlantic
Show Me A Hero, Sky Atlantic
Silicon Valley, Sky Atlantic
The Great British Bake Off, BBC One
Dawn Chorus, BBC Four
Bitter Lake, BBC iPlayer
Fear Itself, BBC iPlayer

I must pay tribute to North One TV, the production company which keeps asking me to be a talking head on shows like The Best Of Bad TV on Channel 5, and – one for the New Year – The Greatest Animated Movies. I really enjoy doing these, as it’s basically talking about telly and films, which I’d be doing anyway! I’m not on the screen that much any more, except for the little one on the Guardian website, so it’s a pleasure to be asked.

It curdles my insides to say it, but I think this is the first year for some time where my name didn’t appear in the credits for something on TV (or at the cinema, like last year, hem hem), unless you count the reruns of Not Going Out on Dave, which are on a loop. Oh, it goes without saying that I am still co-developing a TV drama, the one I was co-developing this time last year, but as anybody who’s been in development will concur, it’s better to still be developing it than no longer developing it. It’s not dead until pronounced so by the broadcaster. And, just before Christmas, another drama I was co-developing but which had been on ice all year, suddenly reared its pretty head again after a fortuitous coffee. So here’s to another year of it. All of it.

2014: My Top 50 TV Shows

Now we’re talking. For almost four years now, I have been required to watch television for a job. It is a lovely job, even in the weeks when it is an uphill struggle to find anything to rave about into a camera at the Guardian offices in King’s Cross. (You surely know me well enough by now to know that I am a bad TV critic because I have too much empathy with people who make TV programmes and thus find it difficult to slag them off for dramatic effect. So be it.) I cannot lie to you: when, in November, I appeared as a talking head on Channel 5’s Most Shocking TV Moments, I was inordinately proud to be captioned for the first time ever as “Andrew Collins, TV critic”.

Most Shocking TV Moments was not one of the Top 50 TV shows of 2014, although it wasn’t at all bad, and was important in its own way.

I can definitely list 50 TV shows that I loved this year, which is a first for my cultural roundup of the year so far, currently a bit undernourished. That’s because I watch a lot more telly than I listen to records or read books. It’s best to get used to that, and not worry about it. Telly is in the best shape it’s been in for years and we should give thanks for that, while music’s in a parlous state and films are struggling to keep up with the small screen. You know it’s true. I’ve had a rethink since first publishing this list, which is a pointless qualitative exercise in any case, and instead of a Top 50 (or whatever the total is up now), I’m reverting to the Top 10, followed by all the rest, as, frankly, after that it’s a fairly random list of television programmes that I thoroughly enjoyed in 2014. There’s no way of measuring which was my 21st favourite and which was my 22nd favourite. (Also I caught up with two episodes of Toast after first composing the list and tried to move it up the chart, but it threw everything else out of whack and I conceded my folly!)

In its present state, it can do no harm, especially if it prompts debate or that warm feeling of “Oh yeah, I forgot about that.”

1. The Leftovers, HBO/Sky Atlantic
2. Gogglebox, C4
3. Peaky Blinders, BBC2
4. Detectorists, BBC4
5. Hinterland/Y Gwyll, S4C/BBC Wales/BBC4
6. The Newsroom, HBO/Sky Atlantic
7. Game Of Thrones, HBO/Sky Atlantic
8. The Code, ABC1/BBC4
9. True Detective, HBO/Sky Atlantic
10. Gomorrah, Sky Italia/Sky Atlantic

The Lost Honour Of Christopher Jefferies, ITV
Looking, HBO/Sky Atlantic
The Missing, BBC2
Boardwalk Empire, HBO/Sky Atlantic
Happy Valley, BBC1
Line Of Duty, BBC2
Last Week Tonight With John Oliver, HBO/Sky Atlantic
The Walking Dead, AMC/Fox
Intruders, BBC America/BBC2
Mad Men, AMC/Sky Atlantic
Toast Of London, C4
Olive Kitteridge, HBO/Sky Atlantic
The Good Wife, CBS/More4
Babylon, C4
Stammer School, C4
The Mimic, C4
Marvellous, BBC1
W1A, BBC2
Boss, Starz/More4
Veep, HBO/Sky Atlantic
Penny Dreadful, Showtime/Sky Atlantic
Utopia, C4
Stewart Lee’s Alternative Comedy Experience, Comedy Central
The Honourable Woman, BBC2
Cilla, ITV
The Strain, Watch
Nixon’s The One, Sky Arts
The Legacy, Sky Arts
Plebs, ITV2
Scot Squad, BBC Scotland
Grayson Perry: Who Are You?, C4
The Bridge, BBC4
The Mill, C4
A Very British Renaissance, BBC2
The Village, BBC2
Uncle, C4
Suspects, Channel Five
The Great British Bake Off, BBC1
Dave Gorman’s Modern Life Is Goodish, Dave
The Trip To Italy, BBC2
The Art Of Gothic, BBC4
The Life Of Rock With Brian Pern, BBC4
People Just Do Nothing, iPlayer/BBC3
Modern Family, ABC/Sky1
Rev, BBC2
Hannibal, Sky Living
Sherlock, BBC1
Bright Lights, Brilliant Minds, BBC4
Louie, Fox
The Daily Show, Comedy Central
House Of Cards, Netflix

Glib conclusions? Thank the lord for HBO, and by definition, Sky Atlantic. Also, what a year for drama. And not just American drama. In the Top 10 we find an Australian drama, and an Italian drama, as well as one from the UK (Peaky Blinders, which I hymned at length for the Guardian’s Top 10 TV here), and more specifically one from Wales, in Welsh (which premiered on S4C, in its native language, in 2013, but expanded into countless other territories, from Denmark to the US and Canada, in 2014). Other notable British entries include The Lost Honour Of Christopher Jefferies (which reminds us that ITV is the equal of the BBC when it wants to be), The Missing, Happy Valley, Line Of Duty and Intruders (a co-prod with BBC America).

I find it intriguing that a number of dramas in the list have been based on novels: The Leftovers, Game Of Thrones, Intruders, The Strain, The Walking Dead (a series of graphic novels). Great long-form TV drama is often referred to, with critical reverence, as “novelistic”, and this seems now to be literal. I’ve often felt that a 90-minute feature film, the usual resting place for a novel, is the wrong medium; eight hour-long parts seems so much more conducive to capturing a book’s essence. (Hey, that’s why Lord Of The Rings was made into three movies.) Anyone see The Slap, another all-too-rare Aussie import, in 2011? That was a novel; it worked on telly. I guess the weird bit – and this will be true for my favourite show of the year The Leftovers – is how to produce a second series when the source has dried up.

Telly drama made the news in April when “Mumblegate” saw the BBC in the firing line – again – for the questionable sound quality of its latest original British drama, a three-part dramatisation of a novel, Daphe Du Maurier’s Jamaica Inn. This was mere weeks after I’d sat on the Bafta jury for Best International Programme with its talented writer Emma Frost (I really liked her adaptation of The White Queen in 2013). I enjoyed the first episode of Jamaica Inn, and said so in my Guardian review, but having viewed it on catch-up I think we missed out on the technical problems that bedevilled it for those who watched it live. Also, we watch so much mumbly drama in our house, we had no problem straining to hear what Sean Harris was saying. Others had a bigger problem, and a storm in a teacup brewed. Harris redressed the balance with his sweetly self-conscious acceptance speech for Southcliffe at the Baftas. But I felt sorry for Emma, because I am a writer, and there but for the grace of executive whim, go I.

I also thoroughly enjoyed the coverage of The World Cup on ITV and BBC in June and July, and you can re-read my enthusiastic but clueless reports, Braz1l, Bra2il, 3razil, Br4zil, Bra5il and 6razil here. That’s a lot of hours of television, right there.

My own contributions to the small screen have been limited this year. I was thoroughly proud to have script-edited the second series of Badults on BBC3, and – a new gig – the second series of Drifters on E4. One of my in-development sitcoms bit the dust, but not through want of effort and lateral thinking and getting Simon Day in to help gag it up.

My talking head was on the aforementioned Most Shocking TV Moments on Channel 5, also, for the same channel, I did Greatest 80s Movies, which I didn’t see, but I assume went out? More covertly, I added my two-penn’orth to Crime Thriller Club on ITV2, as I like the kind of crime thrillers that are on that channel and quite fancied talking about them with my head. Apart from that, I’ve been busying myself writing and rewriting my dystopian thriller, which is, yeah, yeah, in development. Here’s hoping it does something slightly more meaningful than get rewritten in 2015. Reuniting with Simon Day has been a positive thing, and I’d love to think we can do something together in the near future.

Telly Addict continues, of course, which is a bit like being on the telly, isn’t it? Here’s your static moment of Zen …

6razil

A lobby of green-ink heart attack candidates in the Sunday Times Culture section’s You Say TV forum (to whit: “What about the 50 million licence fee payers who don’t like football?”) have been wishing for four weeks that World Cup 2014 was all over. It is now. Thanks to the fleet left foot of the German substitute who looks like my niece’s boyfriend Shane – Mario Götze – who misshaped the bottom corner of the Argentinian net in the 112th minute from a cross by André Schürrle, Germany are now four-times World Cup champions, and this is their first team to win it since the Wall came down. A new star will have to be embroidered onto their shirt. Götze already is one, a 22-year-old symbol of Germany’s “New Generation.”

The Maracanã, pulsing with coloured lights from above like a sea anemone as the sun went down, hosted a thrilling final, whose single goal and singular lack of shots do not quite describe the action within. Having ungratefully humiliated the host nation and sent the whole of Brazil spiraling into despond – forced, by default, to cheer them on – Germany were the stronger side, but Argentina’s defence was stout. Unfortunately for the South Americans, their “demigod”, as Alan Shearer describe him, Lionel Messi, was only occasionally the best player in the world, and couldn’t finish.

However, and this is now a commonplace, Germany were a team: unreliant on demigods or talismen, they were eleven men, who simply looked for each other, passed clearly and cleanly, cleared some space, created chances, and, more often than not, converted those chances into goals. Only one last night, but it only required one. Stoically, they dealt with the zero-hour loss of Khedira – injured during training – by replacing him with Christoph Kramer, who was himself rendered dazed and confused by a shoulder to the bonce, and replaced by Schürrle. This is how a good team works. It is a sum of its parts. Brazil, as we have seen, cannot function without Neymar. Argentina, in this instance, couldn’t win without Messi. Messi was there, but not quite.

Let us not sanctify Germany; one or two of them did their fair share of diving (albeit not at the theatrical level of Holland’s Iron Robin, whose supercilious grin made him one of the most difficult to like stars of the tournament, right through to the pointless Third Place Playoff against an undead Brazil). But there are eleven reasons why Germany are the first European side to win the World Cup in South America. Oh, and one of those reasons happened to be the best keeper of the last four weeks.

As Gary Lineker said to the shy and retiring Alan Hansen during the suited-up half-time mull, “You like stats.” Here are some I’ve lifted from the BBC Sport website:

Germany have won the World Cup for a fourth time. Only Brazil (5) have more wins.	Argentina conceded a goal in extra time at the World Cup for the first time.
Argentina failed to have a shot on target in a World Cup game for the first time since the 1990 final v West Germany.	Germany are the first European team to win a World Cup in the Americas.
Germany’s total of 18 goals is the most in a World Cup since Brazil scored 18 in 2002.	Argentina only trailed for seven minutes in the entire tournament.

It was, of course, over for Brazil a lifetime ago on Tuesday, just after Germany’s second goal from Klose, when they went to pieces before the eyes of the world. Or, if you prefer to dig back a bit further: the moment Colombia’s Zuniga high-tackled Neymar in the quarter final and put him out of the frame. Or, if you prefer, the moment in the same match when captain Thiago Silva got sent off, for surely it was the lack of a cohering skipper as much as the lack of what Sam Matterface later called “a goal-scoring striker” that took the legs out from under Brazil. (Or Brazeel, Brazeeel, as I still call them, after the ITV theme tune, an affectation that has taken on a melancholy air.)

The semi final against Germany at Belo Horizonte has already gone down in the World Cup and even footballing annals as one of the most shocking ever played. And that’s according to people who’ve seen a lot more games than I have. It certainly left a lot of people horizonte. The word “humiliation” is an emotive one, but in the case of Brazil’s 7-1 drubbing – and that particularly surreal five minutes during which they scored four and the numbers went up like the counter on a pinball machine – it has hardened into cold fact. It really was all over before half time. Records were being smashed so often, there was no time to stop and appreciate the fact that Klose’s goal made him the World Cup’s highest ever scorer. (One of the reasons we didn’t have time to take it in was Kroos’s first of two, which he scored a minute after Klose’s.)

Over the last 20 years I have watched a lot of international football matches at two-year intervals, and there has been nothing like Brazil Germany, which was almost eerie. The volume on the majority Brazilian crowd dipped around the 20-minute mark and only recovered once when little Oscar pulled one back in the 90th minute. (Oh, and when they collectively booed their team off the park at the end of each half. Incidentally, you had to give shy and resigning coach Scolari some credit for taking the blame. He wore a “Forca Neymar” baseball cap as he went off, presumably with a lining of irony.)

It has been a memorable World Cup, already fading away like a white Rubicon of referee’s foam. All those South American players crossing and prostrating themselves before God – and, conceivably, Christ the Redeemer – to no appreciable avail. Enough yellow cards to build a replica Yellow Submarine. Two African sides in the final 16. So much offside. So many talismen. So much pointless, Jonathan Pearce-flummoxing goal-line technology at the beginning, and so much less of it at the end. So little Phil Neville come the end, too. So many goal-of-the-tournament contenders! My own favourite – hope it’s one of yours – was catapulted from the toe of 23-year-old Colombian forward and ingenue James “Haymez” Rodriguez against Uruguay in the last-16. It was art.

He also won the Golden Boot with six goals in five matches, ahead of Muller and Messi.

So much finely sculpted and greased hair. A few poodles. One or two headbands. In Neymar’s two-tone creation, a tribute to the drummer of Kajagoogoo. One ridiculous rat-tail sticking out at any angle from the otherwise shaven head of Rodrigo Palacio which, knowing my luck, will turn out to be a tribute to a dead member of his family, something he hasn’t cut since they perished, or something, in which case I’ll delete this aesthetic complaint. Apparently, Thierry Henry’s cardigan cost £505. You can’t buy that kind of style. And Adrian Chiles won’t stuff his tackle into those one-size-too-small M&S short again. He rather ruined the view when ITV’s gang were seated out on the Opinion Terrace. Only Fabio looked truly attractive with his legs out. But some kind of medal for the salmon-skinned Gordon Strachan and Neil Lennon for being outside at all. I wonder if anybody watched the Final on ITV? I mean, anybody at all.

I like the fact that, come the Final, I was able to name ten out of the eleven starting German team from their faces during what I still controversially think of as Deutschland Über Alles – albeit less of the Argentinians during Canción Patriótica Nacional. It’s small personal victories like this that make the four-week commitment worthwhile. This means that, in two years’ time, I’ll know about four of them, of course. But it’s a start.

I still haven’t quite got to the bottom of why a taciturn Scot in his 50s is “retiring” from sitting in a chair and talking about football, but farewell, Alan Hansen, in any case. You picked a good one to go out on.

Bra5il

It was either Guy Mowbray or Steve Wilson who, during the last-16 Argentina Switzerland game when the score still stood at 0-0, wondered aloud (because what other kind of wondering would a commentator do?) whether we were about to see “a Messi Moment.” We weren’t, as it happened, or at least not the goal Mowbray/Wilson was hoping for, and it went to extra time, during which one of Messi’s less talismanic compatriots, Di María, swivel-volleyed one in off his deflected pass and put them through to the quarter finals. (Di María was later benched with an ice-pack on his leg.)

This World Cup has been all about such great expectations, but it’s not always great for great men. Gary Lineker commented last night that of the six badly-drawn boys on the BBC’s Mount Rushmore-like slum-wall of fame in its opening credits, only one remains in the competition, with the other five either knocked out, banned for four months for biting, or horribly injured.

Germany, otherwise known as “Manuel Neuer and ten other blokes”, had a fairly easy time of it against France, with Mats Hummels facing down “flu-like symptoms” (all that hot and cold) to head in the first and only goal in 12 minutes. The one good thing you can say about the 1-0 score is that at least it spared us extra time and … that other grim foot-lottery.

Brazil Colombia was a better bet, if a festival of fouls. A South American derby with atmosphere to spare, and controversial refereeing decisions at every turn. The Spanish ref at least managed to piss off both teams, which surely clears him of bias. Colombia’s fatted calf Rodriguez was, as they say, kicked around the park, and his opposite number Neymar actually left the field, and the tournament, in agony in the orange out-tray of doom after Juan Camilo Zúñiga’s knee-high challenge from behind. Let’s see that again …

I’m not a coach, but surely it’s a risky business, relying on one star forward. (I seem to remember Brazil having about three in 2002.) That said, it’s better than no star forward, and it’s bad luck to lose him completely before a semi final against Germany. It’s like Zúñiga kicked Jesus. (Fifa are looking into the tackle, so we’ll see, but it’s literally after the event.)

The quarter finals have certainly been full of messy moments. With the brakes well and truly on, and teams more evenly matched I guess, the goal rate has plummeted. (This World Cup has apparently given us 159 goals, and it feels that way, although I don’t know if this includes penalties, which are goals, but stripped of context, and thus sort of not-goals. It could have been a lot more goals if not for the likes of Howard, Ochoa and the other super-keepers.)

Yesterday’s lumpy but nonstop Argentina Belgium game had plenty of Messi Moments while he stylishly went about equaling Maradona’s 91 caps and fending off attackers like an action hero chased by velociraptors and giving it plenty of pirouette, but it was swarthy Gonzalo Higuain who put them one-up with a volley that was decisive and powerful. It hinted at the eight-minute mark that we might be in for a high-scoring game as Argentina’s streetwise teamwork squared up against Belgium’s pluck, but no. Argentina keep winning by one goal, but I’d have rather seen another 3-2 or a 2-1, and not another top-loaded 1-0. (How demanding we become.)

Belgium couldn’t break their duck, and Argentina couldn’t put one past Courtois again. A similar pattern of deadlock dogged Holland Costa Rica, except without a single goal for 120 minutes. Plenty of chances, and most of them fumbled by the Dutch in what was never even hinted as being an international sectarian clash, even though it kind of was, with the Orangemen versus the Catholics. (The Dutch team may well be humourless atheists; but the self-crossing, saint-kissing, upward-genuflecting Latin Americans do seem to believe that God is on their side.)

It was weird to see minor Game Of Throw-Ins character Iron Robin on his best behaviour, having had his card marked about all the diving, clutching and play-acting that frankly undermines his elegant ballsmanship and age-defying, Terminator-like energy. Costa Rica’s coach, Pinto, had apparently voiced his concerns pre-emptively to the ref, and all eyes were on the passive-aggressive egghead. Not once did he melodramatically claim a foul through the medium of mime, although, ironically, he was fouled plenty of times and the sky was filled with yellow cards to prove it. (Four Costa Ricans earned one, although – sadly – there will be no next match to miss.)

It’s partly the game’s fault, and partly mine, but I found myself dozing off during the second half, and when I snuffled awake after a sofa snooze, it was still 0-0. For reasons of middle-aged self-preservation I took myself off to bed, unaware of the next act. I was awoken this morning and advised without spoilers to rewind and watch the extra time. So I did.

It was among the most exciting blocks of football this World Cup has thus far spoiled us with, Holland reawakened by the hour and Costa Rica determined to hold them to a draw and let the penalties decide. As they searched for the hero inside themselves, they were truly in search of the CRC. But – and here’s where it gets interesting – the most thrilling moment came when the unreadable and apparently egomaniacal Dutch coach Louis Van Gaal made his chess move. He took clean-sheeted keeper Japser Cillessen off in the 121st minute and replaced him with a man I’d never heard of called Tim Krul. Newcastle United fans will have heard of him.

Could this vital game, at this vital stage, really turn on a frankly insulting substitution? Or had Van Gaal planned it all along? (Danny Murphy’s always reminding us that games can “turn” on something.)

Hardly worth mentioning that he’s a gangly fellow but he lacks the neat, boyish, Germanic look of Cillessen. Krul – helpfully named for headline writers (“Krul summer … Krul fate … Krul to be kind … Royal Society for the Prevention of Krulty to Animals”) – seemed to me a bit of a yob. I certainly crinkled my nose when he started psyching the penalty-takers out by marching up and down in front of them like a sentry and then giving them some verbal and a you’re-going-down hand gesture before taking up his line. I was already a Costa Rican so I wished him ill with this grubby technique. Imagine my dismay when it seemed to work. And imagine my joy when it didn’t, twice. And then my dismay again.

There is no shame whatsoever in Costa Rica’s defeat, not with a performance like theirs. Their first World Cup quarter final will have to be milestone and testament enough for a Central American republic and medical-tourism hotspot with a population of 4.5m and no military since 1949 (although “plenty of fighters” in their team, as Sam Matterface chirruped).

As you might imagine, I’ve been saving the Sports section of my newspaper from the recycling tub for over three weeks now, and even a visitor picks up on things. I’ve divined previously that people don’t like Andy Townsend, so I continue to not-mind him just to be my own man. I’ve no idea if it’s OK to like Danny Murphy? But I do like him. Although he overuses the word “actually” and mixed up the last 16 with the quarter finals last night, he seems sincere and self-effacing (perhaps to a fault), and knows when to join in. I’ve looked him up and he only started punditing for Match Of The Day last year, so maybe he’s still on probation with the hanging jury. I also like the fact that he looks like he’s related to Morrissey, and very well might be. Clearly, Glenn Hoddle remains a figure of fun, and I have no defence for him.

Gary Lineker really needs to spend less time on the weights. His shoulders will soon be so rounded he is unable to carry a bag without it sliding off. Alan Hansen has announced his retirement after this World Cup. From Match Of The Day? That sounds a bit grand to me. He’s not even 60. Is he simply leaving, rather than retiring?

Roll on the semis. My fever-dream of a Brazil Belgium final is a future I’m glad I didn’t put money on. (I don’t put money on anything.) It’s going to be Brazil Argentina, isn’t it? That’s fine. Even though I keep reading that Brazil are “ordinary” – and certainly left spineless without Neymar – they have so many home-team advantages and now a fallen comrade to play for, the Germans will have to tighten a few nuts and add a lot of oil if they want to achieve Vorsprung durch Technik. I certainly find myself – without prejudice or discrimination, Fifa! – hoping Holland go out.

Br4zil

It’s a knockout. And, as the canopy of shade creeps diagonally across pitches from Manaus in the north to Porto Alegre in the south, we have borne witness to the birth of the “cooling break”, whose very name refreshes those of us at home, where temperatures are not in the thirties and humidity a lot less than 66%. The hallucinations constantly threatened if the players don’t rehydrate are all happening to us, the armchair spectators. With the group stages over and my Guardian World Cup Guide fastidiously spidered with numbers, we’re at that point where every match counts. Even, on a low level, Costa Rica Greece, which I forewent last night in order to catch up on Glastonbury, but turned out to have gone to dratted penalties (5-3 to Costa Rica). Aside from the sight of Adrian Chiles in tight shorts with his legs wide apart under the garden table last night on ITV, during the channel’s unique on-the-patio bit before the game (he dresses to the left, cock fans), there’s little to complain about. Suárez is long gone – subsequently joined, connectedly, by Uruguay, after a sound thrashing by Colombia. The narrative (and I love a narrative, as has been pointed out to me on Twitter) is that one superstar is gone, and another is born: 22-year-old striker James Rodriguez, whose 29th-minute volley is being talked about as the goal of the tournament – and that’s with stiff competition.

As already established, the post-England phase of any international cup is always my favourite part. No more residual stress about whether or not “our boys” can prove, or improve, their world ranking, and the sheer joy of being able to cheer on whichever team I like, switching allegiance mid-game if I fancy. I do not blame the whole of Uruguay for the developmental and denial issues of Suárez, although the shine did come off them as a result of his toothmanship and when Colombia went one up with That Goal, I pinned my allegiance to their yellow shirts, perhaps in subliminal solidarity with the hickey-marked Italy, or with Gloria from Modern Family.

Either way, poster boy Rodriguez, who’s now scored in all four of his World Cup games, delivered a magic moment when he chested, then left-footed a 25-yarder past the Uruguay goalie. To quote from the write-up by the BBC’s Phil McNulty, who will have seen and described more goals than I ever will do, “It was the most perfect combination of technique and talent, drawing gasps from around this iconic stadium when it was replayed on the four giant screens that hang from the roof of the vast bowl.”

What a game Brazil Colombia will be on Friday (Colombia’s first ever quarter final). Another serious South American derby, especially now that Brazil have recovered their mojo. Their victory against Chile in the first knockout match may have been decided on penalties – just checking: nobody wants a World Cup match to go to penalties do they? – but it was no kickabout in the 120 minutes preceding.

A goal apiece from Brazil’s Alan Davies-haired David Luis and Chile’s Sanchez evened things out in the first half-hour, but the turning point came in the second half: a disallowed goal from Hulk, who appeared to use his bicep before getting one past Claudio Bravo, an anatomical subtlety identified and penalised by brave British ref Howard Webb, whose shiny head always makes me think of my last editor at the NME, and my own Uncle Phil, who was a professional referee in his prime, which seemed supercool to me as a boy. (We witnessed him spraying the medicinal-smelling Ralgex onto his legs before a game, which was an eye-opener. It was like he operated in another world and yet he was Uncle Phil.) Webb was at least balanced: he denied a penalty appeal by both sides. Much for the pundits to unpick at half-time.

Those penalties. It was hot out there and even those used to the stifling humidity and wilting temperatures didn’t really want to play on for another 30 minutes. But there it was. Somebody must always go home empty handed from now on. Or empty-armed in Hulk’s case. If this game had been blocked and written in a writers’ room, then Hulk, so ambiguously denied his second, would-be-decisive goal, would have scored Brazil’s winning penalty, thus redeeming himself, and allowing Howard Webb to get home from work safely and sleep more easily. As it was, Hulk’s shot was saved by the estimable Bravo – bravo! – but it was Julio Cesar’s denial of Sanchez’s penalty kick – hail, Cesar! – that sealed it at 3-2 for the hosts. Tense, yes, a ridiculous in-out way to decide a match so steeped in chance and subtlety, but the shootout was not without nuance: Neymar’s mindfuck shuffle was quality entertainment.

In our house, we’re still unable to get over the image of Holland’s star striker as a character in Game Of Thrones: Iron Robin. But this is a minor impediment to the enjoyment of watching him lead a seriously below-par team to a squeaked victory against my favourites Mexico. I decided they were my favourites during the first half, when they gave as good as they got and their first quarter final in 28 years seemed a delicious possibility. I love to watch Holland pass, but they couldn’t break the Mexican wall. If I had more analytical skills, I’d tell you precisely why like Glenn Hoddle did at half-time when it was still 0-0, but I find it difficult to follow him. It was 38.8C out there, and fans unlucky enough to be sat in the sun literally abandoned their seats. If both teams had agreed only to play in the shade throughout, I would have taken my hat off to them, and then put it back on again for protection. It may have explained the Dutch failure to convert. The Netherlands is not a hot country, and the orangemen (sorry) who aren’t bald, have shaggy dog hair – neither ideal in a bake-off.

I know this much, Mexico’s keeper Guillermo Ochoa was the man of the match. Commentator Sam Matterface may have mocked him for looking like something out of an “80s fitness video” (he favours a thick headband to keep his head looking like a tied-up bunch of fresh carrots), but his quick-witted ability saw a parade of Dutch chances punched, slapped or body-bounced off the line. When Mexico’s Dos Santos put them one-up at the start of the second half from the fabled 25 yards (I don’t even know what a yard looks like), things really hotted up. Holland didn’t equalise until the 88th minute – despite Iron Robin’s repeated attempts to lie down in the penalty area and feign injury – but the man we call V2 Schneider (but is actually called Wesley Sneijder) turned it around in style. Hallucinatory extra time seemed inevitable, but Robin finally had his way, earned a penalty after a Marquez trip-up, and Easter Island-browed substitute Klaas Jan Huntelaar scored the winner from the spot. As you will see from this picture, the wrong player is called Hulk.

Because I remained a loyal Mexico supporter to the end, telling anyone who’d listen, including our cat, that they deserved to go through, I was crestfallen by Holland’s zero-hour comeback, as juicy and dramatic as it was. Also, as with the Oscars, I like surprises and dislike sure things. But with whole sections of the crowd burnt to a crisp like extras in Threads and welded to their plastic seats like puddles of face paint, Holland celebrated not just getting through to the quarter finals, but to a potentially comfy tie against either Costa Rica or Greece (it turned out to be the former).

On with the games.

Braz1l

Brazeel, Brazeel … Day 7 of the World Cup; 16 games into the group stages; one cardigan; one headbutt; one smashed studio window; one England goal. But it’s not about England. Alright, it is a bit. If you’re new to my expert football writing, I do not profess – and never have done – to being a football fan in the sense of someone who lives for when Saturday comes and knows who scored what and when against whom and was transferred from where for how much. I do not follow club football, and I have no team (which is how come I was able to “support” Norwich City for a year or so when I was first on 6 Music, out of heartfelt allegiance to Gary, an ardent fan who worked on the show). The closest I get to such a thing is to feel a sort of vague geographical pull deep in my guts for England, and they make me pay for that sentimental weakness. We’ll come back to them presently.

If you are halfway interested in my previous football reports from World Cups, please put “World Cup” into the search engine above right. I re-read a few entries yesterday and was frankly impressed by the level of detail and observation. Was I really so blessed with free time in the summers of 2010 and 2006? Apparently so. Unlike most top football players, I appear to working harder and earning less. Ah well, let’s give this roundup a crack.

I  must admit, watching Brazil fail to be Brazil against Mexico last night, and thus seeing a team play for the second time, I started to feel a bit of context forming around my position as a well-meaning fairweather enthusiast running to stand still and then finding out that standing still is pointless and running again. As the group stages unfold, generalisations can be confidently made, themes and tropes harden into a narrative, and hairstyles and habits can be matched with men and their positions in teams.

Due to being in Northampton last week, I was able to experience the first night – ie. the interminable interpretative dance-based opening ceremony and speculative heel-kicking in advance of the tournament’s first nightmarishly late kickoff – at my sister’s house with three card-carrying male football fans: my brother-in-law Graham and two of their boys, Ben and William, both glued to iPads throughout, naturally. (Although this enabled Ben to find out if “Hulk”, “Fred” and “Oscar” were the actual names of the Brazilian players so listed – no, yes and yes.) Due to school and work in the morning, staying up until the final whistle was tricky, so I nipped home at half-time and continued watching at Mum and Dad’s, on my own. Beers were taken, as is traditional. I fear for my waistline over the next month. Last World Cup, I had to foreswear the hops and move to chilled tapwater, mid-tournament.

Once it eventually kicked off, Brazil Croatia was entertaining enough. With a welcome early-ish Brazilian goal – albeit on behalf of Croatia – the game and World Cup at least broke their duck at 11 minutes. Defender Marcelo – and not blameless, brilliantly-named keeper Julio Cesar – will have to live with the unwelcome accolade: Brazil’s first ever World Cup own goal. Although what his OG meant ultimately was that Brazil basically played themselves to 3-1. Incidentally, Marcelo is one of an alarming number of players with a “sleeve” tattoo. I respect them but don’t like them. And I won’t have to wake up to one when I’m 70 and they will.

Poster boy Neymar (who my Guardian World Cup Guide tells me plays for Barcelona, a city being homogenised by the holiday cruise ship trade, so I read elsewhere in the Guardian) scored two for his own team, once in each half, the first from 25 yards, the second from the penalty spot after “Fred” was fouled (sorry, Fred was “fouled”). I have little context beyond their World Cup performance in 2010 to help place their continued international brilliance, but I have learned that Neymar keeps scoring for them. (I have major trouble remembering previous World Cups and Euros. I can just about recall which countries they took place in; this is what happens when you take your eye off the ball for two-year stretches.)

I missed Chile beat Australia and Mexico beat Cameroon (I usually enjoy watching the African sides play, so I’ll remedy this), but the big goal haul came with Spain Netherlands, a decisive 5-1 dismantling of a once formidable team now in the doldrums. You could tell a lot had changed since I last saw Spain reign: when Torres was brought on in the last act, the BBC commentator wondered aloud why coach del Bosque had even bothered playing him. How the mighty are fallen, even when they’ve moved on from their Alice-band period. (Spain have not conceded five goals in a World Cup since 1950, stat fans.) Good to see some other old faces: non-too-shabby Xabi Alonso, who took the misleading penalty for Spain at the top of the shop; Holland’s statuesque Arjen Robben, who made it five at the other end; Robin van Persie, or RVP, who now seems now to be carrying the whole team on his shoulders, like Balotelli and Italy, or Messi and Argentina, or … cough … Rooney and England? (As we speak there is talk that Roy Hodgson might not even start Rooney against Uruguay as the owlish multilinguist seems to be all about the young players and I rather applaud him for that.)

It might be remembered in all the easy Rooney-bashing that he set up England’s only goal of the tournament. England’s first game against Italy (get the toughest of their group out of the way first) was, initially, a revelation. Revelations are all relative, but “our boys” – and some of them are boys – seemed to be playing as a unit, pushing forward, creating chances, passing to each other. If you followed England during the friendlies here and in unfriendly Miami, you’ll already have a handle on their current form, but I didn’t. (Adrian Chiles made a remark last night about the general disdain for “soccer” among the Floridian camera operators he spoke to, who can’t get to grips with all the amateur-dramatic rolling around in pain involved in the game – they probably can’t understand why we don’t wear armour either, or split the matches up into tiny chunks to accommodate the advertisers.) I’m excited not to know so many of the England squad: Phil Jones? Luke Shaw? Raheem Sterling? Adam Lallana? Ross Barkley? Daniel Sturridge? I know who Sturridge is now, of course. His cool equaliser at 37 minutes, so soon after Marchisio’s goal for Italy, acted as a symbol for our raised hopes and dampened fears. I, for one, approached the second half with optimism, which duly evaporated like a line of that squirty cream the refs now carry on their utility belts. So we’re left with England in third place in Group D and Costa Rica first. It’s not over ’till it’s over, of course, but it’s started, hasn’t it?

Mexico were “accomplished” against Brazeel last night, according to Jonathan Pearce (a man still confused by the goal-line technology: “NO GOAL!”). Free-flowing football was expected from Brazil; in actual fact, it was flowing-free. As I say, after witnessing two below-par Brazilian matches, I can now say with confidence that the team could provide a serviceable Kajagoogoo tribute act, or at least two Sideshow Bob lookalikes, should the bottom fall out of their football careers. I don’t know if he actually was the man of the match, but the man of the match was Guillermo Ochoa, the Mexican keeper, who’s definitely a “keeper”. Every time a Brazilian goal looked likely, there he was, with his supermop of hair bouncing behind his headband, in front of the ball: fists, chest, stomach, whichever part of him was nearest, as as graceless as it may have looked. (As Mark Lawrenson wryly commented, “You get no marks for artistic impression.”) It was enjoyable to see Fred replaced by Jo, who has even less letters in his full name.

If Brazil and Spain can cock up on the world stage, England are in good company.

What Brazil need to do is bottle the unity and spirit that was actually free-flowing during the singing of their massive national anthem, from the tortuously long intro to the a capella final verse. Tremendous. Accomplished. Total anthem singing.

 

Fast shows

Working in TV can be like striding through treacle. Specifically, writing for TV. So why do we do it? Specifically, why do I do it?

At the end of February last year, I hosted what we in the hosting trade haughtily call a “corporate”. It was an in-house event for the Shine Group, Elisabeth Murdoch’s production company, which has acquired a number of other production companies in the UK, including Kudos, Dragonfly and Princess, and operates Shine satellites “out of” France, Spain, Germany, Australia and the States. (They approached me after seeing me host a screening and Q&A at the Edinburgh TV Festival for the thriller Hunted where a miscalculation meant that I didn’t get a chair and had to host it standing up. One job leads to another.)

The Shine gig proved an exhilarating day; smoothly run at their end, and with a good, attentive audience of media buyers from around the world, who were able to see exclusive previews (or “premieres”) of three high-priority new shows: murder mystery Broadchurch, zombie fable In The Flesh and the sitcom Vicious. My job was to frame each screening and conduct a Q&A with “key talent” afterwards. In preparation, I was able to screen the first episodes of the two dramas privately, and in the case of In The Flesh, shooting scripts, which is quite a privilege, and a thrill if you’re a) a fan of TV drama, and b) a scriptwriter. Vicious was still in production at the time, but it was, again, quite an insight to see shooting scripts by the American writer Gary Janetti (alumnus of Will & Grace and Family Guy).

As a writer, it’s always meeting writers that thrills me the most. Why wouldn’t it? I’ve also hosted Q&As for Bafta, the BFI and Edinburgh with the likes of the writers and showrunners of Lost; Graham Linehan about The IT Crowd; creators of Outnumbered and Drop The Dead Donkey Andy Hamilton and Guy Jenkin; The Job Lot’s Claire Downes and Ian Jarvis; aforementioned Hunted and X-Files scribe Frank Spotnitz; the great Stephen Moffat; the great Victoria Wood; and James Corden and Matt Baynton about The Wrong Mans – all illuminating about the process.

Part of my job as Shine’s host was to oil the wheels, hand out nibbles and ensure all went smoothly and to time onstage (we had a lot to get through in one day). (The nibbles bit was a joke.) To aid that process, I had preliminary phone conversations with the “key talent” in the days preceding the event, including the producer of In The Flesh, the producer and writer of Vicious, and the writer of Broadchurch, the now-famous Chris Chibnall. (He’ll have been known to Doctor Who and Torchwood fans already, and I’d admired his single 2011 drama United and said so on my blog, which he’d read, so we had common cause.) On the day, I also met Dominic Mitchell, who was making his TV debut with In The Flesh, which made it all the more impressive.

That’s the other thing about hosting. As host, you see the shows first, and then find yourself watching them again on the day (often with a craned neck), which is unusual, but two viewings close together really tests a piece of television. Both Broadchurch and In The Flesh passed that unrealistic test. I’m not going to say that I knew both would be honoured by Bafta just over a year later. But I knew they were good.

So, let’s flash forward to Sunday evening. I’m sitting at home, watching the Bafta TV awards on telly. (For the first time, I actually sat on the jury for one of the award categories this year, Best International Programme, but you get a bottle of champagne for doing that and not, as I’d hoped, a ticket to the ceremony; when you judge the Sonys, you get a seat on the night, albeit at a table at the back, but still.) The hat-trick for Broadchurch – best drama, best actress, best supporting actor – was not a surprise; it was the cherry on the cake of an awards season ripe with accolade for Chris’s show – a Kudos production and a kudos-magnet – which had become an actual “phenomenon”. The best miniseries award for In The Flesh (bet they’re glad they were only commissioned to make three episodes now!) was more of a surprise, but a pleasant one, albeit cruelly cut from the two-hour TV broadcast. Vicious was also nominated – Frances De La Tour – so of the three shows I helped in my own small way to premiere last February, all had been given the Bafta nod.

In the interim, I befriended Chris Chibnall. We got on well when we met at the Shine bash, he kindly contributed a piece I wrote for the Guardian about “showrunning” and we have run into each other socially a couple of times since, notably at the Radio Times awards, where he introduced me to more “key talent” from the show, as you can see. They were collecting their framed Radio Times covers that night. More prizes. It’s nice to be there at the start of it, and nice to be there at the end of it, even if it is in a peripheral role. You should be thankful to get to be in the orbit of talented folk, and only become blase after you’re dead.

The reason I tell this labyrinthine tale is that it belies the notion that TV takes ages. It can do, and it does. But once a show’s green-lit and in production, it can move very quickly, not least because broadcasters have slots to fill and there’s very little wriggle room once the date is set. Broadchurch debuted on ITV a day after Mayday on BBC1 last March – that’s two whodunits set in small English towns, both produced by Kudos, although Mayday ran over five consecutive nights.

I gather that Kudos had done their damnedest to convince the rival broadcasters to put a bit of breathing space between the two mysteries but history tells us that neither would budge. As a result, Mayday fell between the cracks a bit, despite being written by the talented husband-and-wife team behind the phenomenal Ripper Street. How many times do you read an interview with a writer, or writers, who say they’ve been developing the drama that’s about to be shown on telly for years?

A TV writer of some note reminded me, sagely, that actors can potentially do between five and ten jobs a year, directors between three and five, while production companies often have several on the go at once, while writers might only get one job a year, or even every two years, unless they are in such demand the are able to overlap, which must only apply to the very highest echelon. This is a fair point to remember. As I have found, you can also spend months, even years, “in development” (and thus on a very reduced fee in comparison to a full commission), only to fall at the final fence, while other hired talent – to generalise – only start work once a project is green-lit and the hours are contracted.

I love TV. I love watching it, and I love working in it. As a job, even a living, it’s a privilege, and, for the most part, a pleasure. But as a writer, you need superhuman patience and, in tandem, ridiculous faith in your own ability, a faith that is knocked on a regular basis, no matter what level you’re writing at. The clearly talented Chris Lunt, whose first originated on-air commission was ITV’s recent Prey, has been writing pilots, bibles and treatments for years if you read his CV – he’s effectively been in development since 2008. This invisible work improves your craft. And that which does not kill you makes your stronger.

I’m also lucky enough to work as a script editor, which also helps hones my licks as a writer, or should do in theory, but it’s always easier to cut someone else’s work than your own. (I’m script editing series two of the comedy Drifters for E4 right now, and it’s bracing to be hands-on with scripts at any level.) As previously stated, I’m in development with my first drama since leaving EastEnders in 2002, and I can only dream of that green light. I spent a lot of last year writing a long, detailed treatment for a drama that sort of went cold after two broadcasters turned their noses up at it. Not a single penny changed hands, although it involved a number of pleasant meetings with a nice, well-known actor who also has a production company and we’ve bonded, so none of it was for nothing. And that’s the job.

Going back to the end of February last year. None of us knew that Broadchurch was going to become a phenomenon – pretty much credited with saving television! – but you could sense it was bloody good. Likewise In The Flesh. It’s pleasing to me, and reassuring, that both could go from premiere to Bafta in just over a year. You wonder if Prey, series two of Line Of Duty and Happy Valley will repeat the trick in the 2015 Baftas. I’ll be rooting for Lunt out of developmental solidarity!

The business moves as if striding through treacle and we who are footsoldiers have no choice but to struggle in step behind it. But when it all comes together, it’s sweet.

Get GoT

This week’s Telly Addict does not feature the first episode of the new season of Game Of Thrones, which, after weeks of hype, went out on Sky Atlantic at 2am on Monday morning (or Sunday night, if you prefer), to sync with the US premiere on HBO. It’s impossible for me to review this epic saga without spoiling it for those without a Sky subscription, an HBO subscription or the spirit of lawlessness to illegally download. So, as an experiment, and a one-time-only deal, I have reviewed it separately, here. Thus, the regular Telly Addict is here. It’s all about New Worlds on C4; Klondike on Discovery; The Trip to Italy on BBC2; Monkey Planet on BBC!; Endeavour on ITV; and a bit of The Voice on Gogglebox on C4.