The Muppets and Beyond: The infuriating ways our kids absorb TV

When I was a toddler my mum said the only thing guaranteed to bring me – and by extension her – a modicum of peace was The Muppet Show. For half an hour each week, the Muppets and their unique brand of noisy, vaudevillian anarchy turned my eyes into swirling portals of obedience.

When my son Jack came along I wanted to forge a common tie between our childhoods. With that goal in mind I set about Muppetifying his existence with the fiery-eyed zeal of a bat-shit Baptist preacher. I was a maniacal man of the cloth, a felt-obsessed fundamentalist with a Henson-sent mission to introduce our son to the all-consuming love of frog almighty.

Muppet DVDs flooded into our flat, all manner of movies and TV specials. Manah Manah became the official nonsensical anthem of our little kingdom of three. As Jack grew older, and gained the ability to toddle and teeter, the Muppet Show’s theme song became a siren’s call, a piece of music with the power to draw him from wherever he happened to be in the house straight to the feet of the TV, where he’d stand bent-kneed and bopping, beaming with born-again-glee and clapping his hands.

It was around this time that his maternal grandmother bought him a Gonzo stuffed toy, which instantly became an extension of his little hand. Jack guarded it like a junk-yard dog, not permitting even so much as a brief separation to allow his mummy to wash the grimy, big-snootered blighter. Piggy, Kermit, Animal and Fozzy soon followed, forming a full Muppet menagerie, but Gonzo steadfastly remained his favourite. He had a book chronicling all of the Muppets from the 1950s to present day, and he could identify the vast majority of them if you said their name.

I bought the Muppet Movie sound-track on CD so we could listen to the gang during car journeys. If ever wee Jack was grumpy and tired, even wailing and screaming from his car seat, it only ever took a few strums of Kermit’s banjo (careful, there) to snap him into contented silence. I swear that the Rainbow Connection was like a dose of aural ketamine.

I’d often sit next to Jack in his room bringing his Muppets to life: doing the voices, making them interact with him. This proved so popular that he’d frequently insist, on pain of tantrum, that those five fellows accompany us everywhere we went in the house, narrating everything as they went. My throat started to feel like a cat’s scratching post. It got to the point where I couldn’t even make a cup of tea without having to engineer a squabble between Piggy and Kermit, or make Gonzo do a death-defying leap from the top of the biscuit cupboard, Jack standing there silently scrutinising the performance, ready to chime in with a Waldorf and Statler-style putdown should things take a dip in quality. I was eventually held so thoroughly hostage by my kid’s imagination that I feared I wouldn’t even be able to go for a shit without Kermit announcing it as an act.


Jack’s mum hated The Muppets. Not straight away, but familiarity very quickly bred contempt. What was nirvana for our son for her felt like being Guantanamoed inside a giant clockwork orange. “You did this to us,” her haunted eyes seemed to say each time they met mine. “You’re the reason that I have to watch puppet pigs singing Copa Cabana eighty times a day, you bastard.” It wasn’t long before she was pig-sick of Miss Piggy, couldn’t bear Fozzy bear, wanted Beaker to beat it, Gonzo to begone, Scooter to scoot, and Kermit to fuck off.

She soon got her wish.

Jack began to refuse or reject items from The Muppets’ TV canon time and again to the point where I stopped offering them as an option. They receded from his day-to-day life, and then started to fade from his memory. Eventually, if the muppets appeared incidentally on some random TV show, or he caught sight of them in a book or magazine, he’d narrow his eyes and scrunch his face up, in the manner of a middle-aged man passing someone on the street they thought they kind of half-remembered from their school days. “Muzzy… Gruzzy… em… Fruzzy! That was his name. Fruzzy Hair. I think he used to sit behind me in English class.”

I’d like to think that in the months and years that followed the waning of Jack’s love for the muppets – as his obsessions evolved and expanded – that his mum actually came to retrospectively appreciate those felty little fuckers, and even kind of miss them. After all, if you’re going to be forced to watch something over and over and over and over again, ad infinitum, then you at least want that something to provide a dung-tonne of variety. And you can’t get much more varied or multifarious than a TV and cinema universe with so many crazy creatures that it makes Game of Thrones look like a two-character Alan Bennett play.

Still. Toy Story was Jack’s next great love. His mum was happier with this. Great movies, right? All three of them. Brilliant movies. You ever watched three movies twenty-five-thousand times? I don’t care if those three movies are home-movies of your own kids being born. After a few consecutive cycles you’re going to be reaching for the baby thermometer and stabbing your eyes out with it. “There’s a snake in my boots! Yes indeed there is. I’m going to use it to fucking strangle myself!”

A little bit of desperate IMDBing heralded the happy news that there were three five-minute shorts and two half-hour specials featuring Bonnie’s (nee Andy’s) gang that we could add into the movie rotation, but even then the novelty quickly wore off (although that scene in the Halloween special where the Pez dispenser pukes in disgust at the sight of the iguana boaking up a toy arm makes me laugh every single time). I even considered sending Disney a begging letter. “Please, please, please, please, for the love of God, hurry up and make Toy Story 4 so we can have one day, JUST ONE DAY, of watching those son-of-a-bitch toys doing something unexpected.”

If you’ve got, or ever had, young kids you’ll know how futile it is to try to counteract their brief but all-consuming obsessions.

“What do you want to watch today? Postman Pat, Ice Age, Count Duckula?”

“Woody and Buzz.”

“Madagascar 1, Madagascar 2, Madagasca…?”

“Woody and Buzz.”

“Oooh, how about How to Train Your Dragon?”

“Woody and Buzz.”

“I’ll give you a million pounds to watch nothing.”

“Woody and Buzz.”

… “The Muppets???”

The worst was yet to come. YouTube is both a blessing and a curse. I credit it with teaching Jack the alphabet – or at least expanding, reinforcing and cementing what his mum and I taught him – and making him more proficient with numbers, but there was a time when he fell in love with a series of videos by a kids’ content-provider called Chu Chu. As in, “I think I’d rather Chu Chu my own arm off than watch another second of these asshole videos.”

Chu Chu is an Indian company that produces Pigeon-Street-style animations of cherubic, rosy-cheeked white kids singing in stilted, weirdly-emphasised English with an Indian twang. Jack watched it so much I wouldn’t have been surprised if he’d gone to school sounding like Apu from The Simpsons. Chu Chu bring all of your favourite nursery rhyme classics back to life, just like this one, you know, the one about your Dad chasing his son through the house in the dead of night because he’s going to eat all of the sugar raw… I mean, what the hell IS this shit?

To be fair to Chu Chu, 18-months to 2 years after Jack’s first exposure to their inimitable brand of transatlantic nursery-rhyme stylings we still sing the Johnny Johnny song, and the semi-bhangra version of ‘No More Monkeys Jumping on the Bed’ is still our favourite.

While Jack enjoyed a series of micro-obsessions with Thomas the Tank Engine, Puss in Boots, Peppa Pig (that plinky-plonk theme tune is my Manchurian Candidate-style trigger for mass murder), Paw Patrol (one day I will kill you, Rubble, you big jawed arsehole. And why do the people in that town call on dogs for help instead of the fire brigade or the actual bloody police?) and various others, he’s now got a broad and sophisticated palate of televisual tastes. Which is code for ‘we probably let him watch too much television’.

But still no Muppets.

I picked up his little brother Christopher the other day, who’s too young to watch TV but certainly old enough to appreciate its bright and noisy charms.

“I think it’s nearly time we had a chat about the frogs and the pigs, young man.”

The Unspeakable Evil of Children’s Television

Whenever I watch contemporary kids’ TV with my young son I find myself yearning for the simplicity and innocence of my own, long-ago youth: back in the halcyon days when there were only four tightly regulated TV channels, and no mobile phones or internet to hold our attentions hostage with a cavalcade of frivolity, violence, and disquieting pictures of strangers’ genitalia.

Back in my day (as I hurtle towards the grave, I suspect that this is a phrase I’ll be uttering with ever more depressing frequency), kids’ shows were good, clean fun. Systems were in place to ensure it. Shows that fell foul of the era’s high standards of morality would answer to the Mean Queen of Clean herself, the ferocious Mary Whitehouse. If Whitehouse thought you were peddling filth to our nation’s kids, she wouldn’t muck about. She’d send hitmen to your door. Naturally, in-keeping with her credo, the severity of the assassinations would be commensurate with the time of day, with more violent murders being saved for after the watershed. Neck-breaking was okay at 9pm, just as long as both hitman and victim remembered that swearing was never permissible. A family-friendly lunch-time kill would typically involve a hitman passing a note to their target which read: “PLEASE DIE OF NATURAL CAUSES, BUT ONLY IF YOU WANT TO. LOVE, YOUR FRIENDLY NEIGHBOURHOOD HITMAN.”

In kids’ shows back then, there were no missiles loaded with sexual references – or clever deconstructions of TV itself – aimed above young heads. Instead, there were only the serene sounds of surf and seagulls down at Cockleshell Bay, the mesmeric chirping of birds in Postman Pat’s sleepy glen, and the gentle tones of Tony Hart as he tried to find nice things to say about the abominable artwork hanging in his gallery. “Oh, this one of a dog is really nice. I love the deep slash mark down one of its cheeks, suggestive of a recent knife fight. And just look at the sexual death threat the artist has scrawled at the bottom of the picture in his own faecal residue. Lovely work there from Harry in Glasgow, aged 4.”

My two-year-old son’s current favourite is the unspeakably hellish In the Night Garden: a garishly bright Nightbreed-ian nightmare that appears to be set in the Hungarian afterlife, as imagined by David Lynch. The show stars David Cameron as Iggle Piggle, a hideous, lop-sided blue peanut with a penchant for sailing on kids’ hands and making weird farting noises. Piggle’s best friends are a little girl with half-Peloquin/half-Predator hydraulic hair; an obsessive-compulsive zombie Teletubby who lives in a rock; tiny beings dressed as the Spanish Inquisition who continually abandon their 8000 children; and a trio of creatures that have crawled straight from a disturbed serial killer’s acid flashbacks. The characters travel around in something called the Ninky Nonk, which sounds like the sort of unhelpful slur once favoured by my racist grandfather. In the Night Garden is bizarre and terrifying, like waking up next to your dead grandmother who’s inexplicably dressed as a clown.

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I resolved to expose my son only to the healthy and wholesome kids’ shows of old, which I tracked down on-line and on DVD for the betterment of his tiny soul.

But then I actually re-watched some of them.  I quickly discovered – to paraphrase Herman Munster – that sometimes dead is better. Certainly my televisual era had been no oasis in the brain-deadening desert.There was horror and betrayal around every corner. He-Man had lied to me: told me that I could remove my clothes and go on a sword rampage without fear of being recognised. Bertha, lovely Bertha, had coaxed me into a life of low-paid drudgery by convincing me that factories were magical places with futuristic robots and vast sentient machines. Uncle Rolf had been exposed as the worst kind of crook. Goodbye wobble-board, goodbye didgeridoo, goodbye Rolf-a-roo. Off to maximum security memory prison with the lot of you (flicks through Rolodex of possible jokes based upon Rolf’s pantheon of catchphrases, and rejects most of them on grounds of obviousness and poor taste). How could the man whose famous catchphrase was a prolonged sexual pant have gone so completely wrong?

God damn you, TV childhood: you were a sham! What follows are the highlights (perhaps lowlights) of my journey through the chilling subtexts and undisguised horror of the shows that formed my youth. It’s certainly easy to see why my adult mind is such a labyrinth of depravity.

Let’s get izzy wizzy busy living, or let’s get izzy wizzy busy dying

sooty1Civil War rages in the Marvel Movieverse. Heroes – humans and Gods, mutants and monsters – clash over issues of moral authority. To whom are these heroes accountable? Does any government have the right to control or command them? Who will protect society from the excesses of our so-called saviours?

Whether you find yourself siding with House Stark or planting your feet firmly in Mr Rogers’ Neighbourhood, there’s one thing on which we all can agree: at least the Marvel lot know how to put a shift in. At least they’re actually doing something about the horrors of the world, unlike some lazy magical bastards I could mention.

Yes, I’m talking about Sooty. Here is a bear more powerful than all of the Avengers combined, and who holds in his tiny, wand-packed paw the power to end world hunger, reverse global warming and bring the dead back to life, but who seems content to spend his days using his magic to splat pies into Matthew Corbett’s face. ‘Screw you, Africa,’ his little bear face seems to say, ‘I’m too busy continually assaulting a beleagured middle-aged man to tackle drought.’

Sooty is so callous he won’t even grant his best friend Sweep the power of intelligible speech, condemning the sad-faced little dog to a lifetime of squeaking like a bloody imbecile. And Matthew, poor Matthew, who is supposed to be Sooty’s closest friend, mentor and confidante, is forced – like his father Harry before him – to act as Sooty’s intermediary on earth, a relationship that’s clearly conducted in the same spirit as the one between Kilgrave and Jessica Jones. The little rat could speak if he wanted to; that Sooty never lowers himself to engage directly with the human race makes his disdain for us – and for Corbett – painfully apparent. Come on, Corbett, stick your hand up my little arse, you slag!

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MATTHEW: “What’s that Sooty? [whisperwhisper] You want to use your magic powers to make me a helpless vessel for your wickedness? I don’t think that’s very nice, Sooty, I… [whisperwhisper] What’s that, Sooty? [whisperwhisper] If I don’t do it the next pie will have hydrofluoric acid in it? [Sooty taps desk with wand].”

Sooty never even used his magic to cure Matthew Corbett’s cancer. Now THAT’S a cunt.

I’d also be interested to know exactly where Sooty was on the day Rod Hull took his tumble. I think it’s time to re-open the case.

The terrible truth about chipmunks

alvin-and-the-chipmunks1In the 1940s, Disney perpetuated the stork myth in its movies. It showed babies arriving by parachute rather than by the more conventional, and ickier, womb-based route. I guess the puritans of the time didn’t want children imagining animals – or, by extension, their own parents – rutting like beasts. In the late 1960s, Hannah Barbera gave Scooby Doo a nephew instead of a son, presumably for similar reasons. Scooby was a friendly, goofy, asexual pal to his young fans. This was no time or place for the birds and the bees. Kids couldn’t be made to imagine our hero hammering away at some horny street-bitch like a four-legged sexual machine-gun.

Unfortunately, by the time the 1990s rolled around it seemed that these varieties of restraint were already a relic of a by-gone era. I recall an episode of Alvin and the Chipmunks that showed one of the chipmunks getting all goggle-eyed over a beautiful blonde woman with a big bust. The chipmunk’s eyebrows jumped up and down in that old-timey hubba-hubba way that cartoons used to sell as cute, but which we now recognise as the unspeakably licentious gesture of a burgeoning sex offender. CHIPMUNK HAS HOTS FOR HUMAN WOMAN. I think I could’ve lived with that headline, had that been the end of it. But it wasn’t. Because the human woman flirted back: giving a saucy little wiggle and blowing a kiss at the sex-struck rodent. Yes, people. You have interpreted the subtext correctly: I had just watched a woman signalling her sexual availability to a chipmunk.

Thanks, Alvin, Simon and Theodore, you depraved little assholes.Every time I wake from a fugue state in the living room with a David Attenborough documentary playing on the TV and my pants round my ankles, I’ll think of you and your terrible sexual guidance.

One more rankle about the chipmunks. This was a show about a dude who lived with a trio of talking animals in a world where there doesn’t appear to be any other talking animals… and at no point did the government bust his door down to take these creatures away to be cut open and studied? What a load of rubbish.

Open Sesame: now please close it again

sesame_1973I ordered a copy of Sesame Street Old School on DVD to introduce my young son to the bygone era of Sesame Street I grew up with, and which I still remember fondly. I was taken aback to find a warning attached to the purchase: “These early Sesame Street episodes are intended for grownups and may not suit the needs of today’s preschool child.” What? But Sesame Street is just The Muppets with an educational remit. Then as now, there are fluffy creatures teaching kids to count, and adults dispensing pearls of wisdom about sharing your toys, not being mean, and loving your neighbour. How could any of that fail to benefit my son, whatever decade of Sesame Street it’s sampled from?

So I watched a few episodes. The title sequence shows a gang of kids making their way through an industrial wasteland that’s bedecked with gang graffiti. Next they bound over an incredibly unsafe construction site. To compound the danger, they take to the streets on their bikes minus safety helmets. Just when I thought I was maybe being a bit woolly and overcautious, the first episode started proper and a grown man took a little girl’s hand he’d never met before and invited her back to his house for milk and cookies. Cookie Monster was up next, eating crockery and… smoking? Cookie Monster’s smoking? He’s actually smoking. And now he’s eaten the pipe too. As if that wasn’t hellish enough, in the next episode The Count takes out a Latino gang with an RPG, and laughs loudly at their delicious screams (OK, maybe that last thing never happened, but you get the point).

It looks like everything that’s ever been said about the 60s, 70s and 80s is true. What a bunch of savages we were (Please also see ‘The Muppet Show’, a viewing of which moved my partner to comment: “Why are you letting our impressionable young son watch a grown woman dressed as a slutty schoolgirl sing a song about kidnapping and murdering people as she locks puppets in cellars?”) Still, at least Sesame Street of old can’t be faulted for its promotion of an inclusive society where kids and grown-ups of all different ethnicities can co-exist naturally, peacefully and happily. That’s something that was sorely lacking in other televisual neighbourhoods of the time…

There’ll be knock, ring, BNP pamphlets through your door

patHow are you enjoying your 1980s Aryan paradise, Obergruppenführer Pat? Why not just fully commit and get yourself a white-and-white cat? Maybe take the kids on a Jew-hunt across field and dale?

I used to watch Postman Pat with my racist grandfather. The show’s hark-back to a less integrated time only served to reinforce his prejudices of white supremacy. Maybe if Pat’s creators had smuggled a little diversity into the mix we could’ve saved my grandfather, or at the very least modified his world-view a little. I wasn’t looking for a miracle. A tiny concession would’ve done. As it stands my grandfather went to his grave without ever uttering the words I had so longed to hear: “I guess Sidney Poitier’s alright.” And that’s on you, Pat.

Why are there so many wrongs about Rainbow?

rainbowitvLet’s talk about Geoffrey, a grown man who lives with a menagerie of bizarre and terrifying creatures in a house that’s been decorated like a children’s nursery. Geoffrey’s bunk-mates are Bungle, a seven-foot ursine version of Norman Bates; George, a sexually precocious passive-aggressive pink hippo; and Zippy, the kind of ‘whatever’ that even Gonzo would shun. How did Geoffrey come to live with these creatures? Did he abduct them? Did he create them with a needle and thread, a bucket of DNA and a set of jump leads? Doesn’t he have a wife, or an ex-wife? A family? Someone in his life to raise an eyebrow at this rather unorthodox living arrangement? Doesn’t the gas man ever come round to read the meter?

“Hello, sir, I’m just here to check your… AARRGGHH, WHAT THE FUCK IS THAT THING WITH THE ZIP FACE?!! HELP ME! OH GOD HELP ME! THE POWER OF CHRIST COMPELS YOU! THE POWER OF CHRIST COMPELS YOU!”

I’d be very interested to see how Geoffrey fills out his census.

Anyway, let’s talk Zippy. What is he? Was he born with that zip across his mouth, or was he cruelly disfigured in the course of some vile experiment? At this point, I’m imagining a Human Centizippy-style origin story, in which the poor creature was forced to spend long, hideous weeks with his mouth secured by zip to Big Bird’s quaking bumhole. Perhaps as Mopatop sobbed into Zippy’s back-end through a wet strap of velcro.

However it was that Zippy’s zip came to be, why would any sane and compassionate man ever use it to silence him? Hey, Geoffrey, why not just break a chair over Zippy’s head or shoot him in the shoulder if he starts mouthing off, you total psycho? And if somebody did that to Zippy – if some sick, pseudo-Nazi surgeon added a zip to his face without his consent – why would you compound his misery by continuing to call him Zippy? Surely you’d change his name at the earliest opportunity, call him James or Timothy or Geoffrey Junior or something. If I adopted a mute kid who’d been rendered paraplegic following a hit and run incident, I wouldn’t greet him each morning with a cheery: “Hey Chairy, what do you want for breakfast?” before wheeling him down a hill for not answering quickly enough.

zipNever mind just changing his name; we have one of the greatest healthcare systems in the world. Why has Geoffrey never referred Zippy to the hospital for surgery? That, I’m sure, is what any one of us would do if Zippy ever landed in our care. We’d help him. We’d fix his face and help him to reclaim his dignity. We probably wouldn’t look at him and say: “Cool zip you’ve got stitched through your face there, Zippy. That’ll be great for the times when I want you to shut the fuck up.”

The only scenario that makes sense is that the world of Rainbow exists only inside the mind of Geoffrey, who is in reality an unemployed alcoholic and heavy drug-user. He sits all day long in a dowdy, ply-panelled bedsit, with lank, greasy hair and no teeth, waiting for his social workers Rod, Jane and Freddy to visit, rubbing his arms raw and rocking and crying in the corner chanting: “Naughty Geoffrey, going to zip you up. Don’t zip me up momma, don’t zip ol’ Geoffrey up. Oh, I’m gonna zip you up, Geoffrey, no son of mine be lisping like some pink hippo. Gonna speak proper or momma gonna skin you like a bear and zip you up, zip you right up in the mouth. OH NO, MOMMA, DON’T ZIP OL’ GEOFFREY UP, I LOVES YOU MORE’N THE RAINBOW, MOMMA! MORE’N THE RAINBOW!”

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And with that, I’m off to buy the complete box-set of In the Night Garden.

Postman Pat – Kids’ TV Redux Pt1

''sup, motherfuckers?'

The first episode of the re-imagined Postman Pat opens on a misty moor on a frosty winter’s morning. Pat and farmer Peter Fogg are drinking strong, home-brew whiskey, as they lie propped up against a dry-stone dyke.

‘Foot and mouth, swine flu, Defra, the wife. They’ve all fucked me, Pat. I’ve got nothing.’

‘I hear that,’ says Pat, hurling an empty bottle and smashing it against a tree. ‘Fucking government. Sixty pence for a first-class stamp? It makes me so angry I could choke Mopatop dead!’

‘Give us a minute, will you, Pat.’

Justice has a long nose and a black pussy.

‘Yeah, sure,’ slurs Pat, wobbling to his feet. As Pat crunches through the frost covered field, he hears the silence broken by a single loud clap. He knows that Peter Fogg’s long misery is at an end.

It’s 2012. The countryside is in ruins thanks to the recession, underinvestment and the exodus of the young and their money. Crime, unemployment and despair are the orders of the day. Chicken rapes are up 200 per cent.

Postman Pat’s seen better days. Especially since the tragic death of his wife at the village fete, crushed under the wheels of a tractor driven by a joy-riding fox.

RIP OAP. Goggins' last stand: mailing her own dessicated jobby to Tory HQ shortly before doing herself in.

A few scenes in, the local post office is closed down by a laughing Tory bastard. Mrs Goggins, with nothing left to live for, takes her own life. She downs a bottle of Gordon’s dry gin, laces her false teeth with paraffin, pops them in, and then lights a petrol-soaked Cuban cigar. The fire is so large it can be seen from the house of the recently-outed Miss Hubbard.

Clutching Goggins’ withered, cooked fingers in his cold hand, Pat vows to avenge her and all of ruraldom. He paints a mural of a black fist on the side of his big, red van; wraps a bandana made from Mrs Goggins’ tear-soaked handkerchief around his head, shaves a mohican into Jess’s skull, claims the shotgun Fogg used to blow open his skull, and rides into the Yorkshire night looking to bring order into chaos.

Ted Glen - or 'The Ferret' as he was known by the SOCS.

The paedophile Reverend Timms is paper-cut to death by a stack of manilla envelopes. I guess he shouldn’t have tried it on with the Thomson twins.

A heroin smuggling ring, controlled by handyman Ted Glen and mobile-shop owner Sam Waldron, is brought to a swift end when Pat pulls up in his van of justice.

‘Package for Glen,’ Pat drawls, slipping an unfiltered cigarette into his badly animated mouth. He hands them the parcel, then makes sure he looks straight into their eyes with a menacing intensity before swaggering back to his van.

‘Ee, thanks, Pat,’ says a puzzled Glen, ‘But tha thought delivrees ‘ad ended.’

‘They have,’ laughs Pat, lighting his cigarette and blowing out a jet of smoke. Out comes a remote control. ‘For you. Privatise this, you drug-dealing cunts!’

Pat slapping them down, Terminator-style.

The resulting explosion takes out Ted and Sam, the mobile shop, three cars, two walls, an electric fence, a pot of cottage cheese, John Craven and fifteen sheep. Wiping from his face the bloody remains of John Craven, and a fragment of sheep’s arse, he looks down at Jess with an uncertain grin. The flames from the explosion reflect in his lenses, lending him the aura of hate and Hellfire. Jess miaows.

‘Maybe we’re too old for this shit, buddy,’ says Pat. ‘But retirement is a choice. My choice. And this letter-posting, big-nosed motherfucker says nobody sleeps till Greendale’s cleaned up.’

Much crime-fighting and indiscriminate fox-murdering ensues.

Pat stands on a desolate outcrop overlooking the hills and valleys of his new kingdom. In the sky above he sees a vision of Mrs Goggins.

‘Pat,’ she howls in her ghostly tone, ‘will the mail ever come back to Greendale?’

‘One day,’ says Pat, cocking his shotgun, ‘There’ll be knock. Ring. Mother-fucking letters through your door.’