TV & Radio 29 November 2013 Why Channel 4's Gogglebox is the best thing on television It reminds me that TV executives can get things right, which is bloody annoying. Sign UpGet the New Statesman's Morning Call email. Sign-up It was a bored evening when I was prodded by my Twitter feed to try Gogglebox, a programme with a daft premise I’d been sneering at for weeks. Real people sat on their sofas reacting to TV programmes? Oh please, I’ve got Twitter for that. We’re watching them on TV watching things on TV? Beyond being neat, it seemed there wouldn’t be much in that to engage a jaded cynic with half an eye on funnier, cleverer commentators. It’s vox pop, I thought, and I hate vox pop, they add absolutely no dimension, pointless questions asked of the kind of people who would ring a quiz line just to say ‘don’t know’. What did you see of the incident, random passer by? ‘Nothing, but I hear it was dreadful.’ What do you think of child-murderers, insightless stranger with no relevance? “They should put them in prison and throw away the key’. Thanks, now it’s back to Kay in the studio. Then I watched it, and now I can confidently state with all the experience of someone who has loathed a lot of comedy over the years, that Gogglebox is the funniest thing currently on TV. There’s very little on that makes me proper laugh out loud, since the halcyon days of TV Burp at its finest. It does a similar thing, I suppose, with Harry Hill replaced by a variety of ordinary people – couples, families, friends – except no writers, no punchlines. People don’t need them; they are funny, man. One couple - I think it was Stephen and Chris - made me really cackle as they discussed a documentary. ‘Hitler was born with all this teeth’ said one. ‘The dirty evil bastard’ said the other, deadpan. It doesn’t look anything, written cold like that, things rarely do. You have to be there. If I came for funny, I stayed for something else. Of course there’s more. There’s family dynamics, annoying teens, debate; there’s drinking, body language and dreadful art - I can’t focus on what one couple say because of the terrible breast painting hovering behind them, a tit on each shoulder. There’s the nation’s obsessions reflected. I’m thinking of one young man, trying to hush his mum at the start of The Day of the Doctor. ‘Don’t say one word’ he warned. ‘But what’s the …’ she started. ‘NOoooooo’ he howled, and we all understood. We’ve all been there, on both sides of that sofa. Then there’s Leon and June. If one couple sum up the joy of Gogglebox for me, it’s Leon and June. A Liverpudlian couple in their 70s, they were watching "Countdown", doing what all right minded people do, trying to get a better word than the contestants. Leon got piss, and June got passion. Piss! said Leon, repeatedly, pleased with himself. Passion, said June, with quiet confidence, not rising to it. Piss and passion. In just that, everything. The stuff that drama aspires to: revealing, comedic, familiar, unpretentious. It was glorious. And June got the (imaginary) points. As well as reminding me of TV Burp, it takes me back to the first two series of Big Brother. It has the same sociological feel, that almost-buzz when something interesting about who we are and where we’re at, is being revealed. We can all find someone in the ‘cast’ to reflect ourselves, to favour, to sometimes laugh at - but not cruelly. It has the affection of ‘Kids Say the Funniest Things’, this sofa-bound slice of life. And these references remind me that while it feels new, it’s really not, because nothing is. It reminds me too that TV executives can get things right, which is bloody annoying. It’s much easier to deride them and my god they’ve practically forced the ammunition into our hands. Nobody sets out to make bad programmes, but as a quick for instance, the manipulative cynicism that pervades X Factor when people with mental health issues are carefully selected to go on screen goes some way to explain our distrust. This time, I’m asking ‘who commissioned this?’ in a very different tone, with respect. Like the editors who turned down J K Rowling, I suspect I may have looked at this on paper and failed to see the spark. The one clanging note is the voiceover. It’s obvious what they were aiming for – ‘let’s have something quirky that can provide another layer.’ But Craig Cash is no Daves Lamb or Quantick. His mock-sincere drawl is the only off-note in the show and it’s banal to the point of grating. Producers will soon doubtless be angling to get their programmes ‘reviewed’ on Gogglebox, which I hope it will resist. And it will certainly create ‘stars’ – it’s how TV operates, eating itself. I shan’t blame Leon and June for bringing out a range of jigsaws, I may even buy one. And in a couple of years, when Steph and Dom are holding hands across their hammocks on I’m a Celeb, I’ll only have myself to blame. Until then, make the most of its strange power. They watched Children in Need one week, something I had studiously avoided (it’s a good way to get a quick overview of what’s on, incidentally) for reasons. The cast were crying, as a particularly moving section of film moved to its finale. And I felt a tear roll down my face. I was crying watching a TV show of people crying watching a TV show I hate. They’ve got to be doing something right. Jenny Landreth is on Twitter @jennylandreth › The triumph of Oxford University's joke president is another symptom of disengagement Leon and June from Gogglebox. Photo: Channel 4 Subscribe For the latest TV, art, films and book reviews subscribe for just £1 per month!