When we're taking aim at British drama for lacking ambition, courage and originality, The Street is clearly not a target. Fantastic performances abound, from some of the UK's finest actors; the dialogue is generally first-rate, the plot development rarely spoon-fed (a tough ask in single 60-minute pieces), and when Anna Friel was on screen yesterday, there was an intensity rarely seen in today's homegrown, small-screen fare.
That the likes of Friel, Bob Hoskins, David Thewlis and Jim Broadbent have been tempted to return to British television drama is testament to the quality of the writing, and Jimmy McGovern's pulling power. The news that McGovern will be calling time on the series, following cuts at ITV drama (who produce it), is not good for actors, viewers or aspiring writers.
So, what's my problem with a series that regularly pulls a decent audience in for an hour of edgy, if somewhat nostalgic, realism? It's the bloody happy endings, that's what. Why does it always have to turn out so hunky-dory?
In last week's episode, Hoskins, as a reformed alcoholic publican, stood up to the local gangster and took a beating for his principles, before winning the respect of his regulars and vanquishing nasty Liam Cunningham at the last moment with a few choice words and a cocktail umbrella.
Friel's tale of a down-on-her-luck mum, so desperate for her children to attend a good school that she helped finance a move to the catchment area through prostitution, was beautifully played, but had a similarly lucky ending tacked on the end.
And don't expect Jonas "Robin Hood" Armstrong's scarred suicide-bomb victim to succumb entirely to drink, drugs and despair on his return from service in Afghanistan, in next week's slice of modern life.
Really, the residents of that street should form a lottery syndicate – many of their troubles would soon be over; although Timothy Spall's Eddie would probably misplace the ticket – until just before the deadline for claiming their millions, when it would suddenly appear again.
Is a happy ending a pre-requisite to ensure bums on seats, demanded by a BBC1 primetime slot? Not judging by Torchwood's brave finale recently.
Is realism considered too depressing for viewers in these tough times? Has a secret directive calling for uplifting drama been issued by the Beeb? Perhaps Ben Stephenson can tell us over a nice cup of BBC coffee ...
