The Ephemeric

It's been another bumper year for television. The big streaming revolution continues to grow, with increasingly more money and talent flowing into original television. The result is an abundance of high quality content, and a watch list that grows exponentially. 2025 is a year that looks to have something for everyone, from some massive returning giants to exciting new talent. Whittling this list down to just 15 was a challenge, and I can already tell that this list is going to keep me very busy indeed. 

Coming in second this year is the sequel to Denis Villeneuve's excellent Dune remake. Epic sci-fi at its finest, brought to life with depth and incredible visuals. Part Two leans more into the character relationships and sets up their arcs as we move into the conclusion of this trilogy. Really, the only reason this isn't top is because it's an incomplete story, more focused on setting up the next film. It is superb filmmaking, however, a must watch for fans of the source material, or sci-fi in general.

4. The Debbie for Variety Show Host of the Year 
Winner: Jon Stewart









Say what you will about 2024, but this was the year that gave us Jon Stewart back on our TV screens. The legendary comedian/TV show host ended his original run on The Daily Show almost a decade ago. During that time he has delved into various creative endeavours, from production to film directing, but none has really landed with the expected impact. His brief stint on Apple showed promise, until he pissed off the wrong investors and got canned. But now he is back where he belongs, part-time at least, and it's refreshing to see his brand of no-holds-barred anti-bullshit once more. Long may it continue.


5. The Debbie for Rising Star of the Year 
Winner: Leo Woodall









You may recognise him from the second season of The White Lotus, Leo Woodall is on the verge of big things. The British actor may have began his career in humble fashion, guest appearances on the likes of Holby City, but these next two years could see him become one of the biggest rising stars in the industry. 2025 will see him take a starring role in the new Bridget Jones film, as well as the lead in the newest Ridley Scott TV series, Prime Target. Add to that some critic-pleasingly prestigious (read: awards-bait) projects such as James Vanderbilt's upcoming Nuremberg, and it really does seem like Woodall is on the precipice. If you didn't know his name until now, you probably will soon.


6. The Debbie for Web-Show of the Year 
Winner: Gaming Historian









The Gaming Historian is not a new content producer. Norman Caruso's ongoing YouTube series has been documenting the history of gaming's greatest icons, consoles, and the major players of the industry, for years. But recent years have increasingly seen transition from YouTube-friendly short-form content into genuinely substantive documentaries. This year's output has included a forty-minute episode on the history of the first videogame cartridge ever created, and an hour-and-a-half film on the development of classic title The Oregon Trail. In a world where content is increasingly ephemeral, borrowed instead of owned, this type of work is absolutely valuable, and the quality of that work is hugely impressive.

Music, Art & Theatre

7. The Debbie for Theatrical Production of the Year 
Winner: Stranger Things: The First Shadow (Phoenix Theatre)

Runner Up: The Hills of California (Harold Pinter Theatre)









Amid the overwhelming availability of high quality theatre in London, my choice for the year's best production may raise a few eyebrows. But those who have seen it will know that it is a worthy winner indeed. Stranger Things: The First Shadow is a prequel to the hit Netflix series, but this stage production stands on its own as more than just a treat for longtime fans. Brought to life by the multi-award winning production team of Stephen Daldry and Jack Thorne, First Shadow has serious stage chops behind it. Thrilling for fans old and new, with innovative stagecraft and live visual effects that have to be seen to be believed, the work they have produced is sublime theatre of the highest quality.

Despite many worthy contenders for second place, this year's next pick goes to Sam Mendes' latest, The Hills of California. Penned by highly acclaimed scribe Jez Butterworth, The Hills of California is a compelling family drama that oscillates between the 1950s and 1970s in Blackpool, England. The narrative centers on the Webb sisters, whose mother, Veronica, portrayed by Laura Donnelly, is resolute in molding them into a musical act akin to the Andrews Sisters. The play delves into themes of ambition, familial bonds, and the repercussions of a domineering matriarch, with an unforgettable stinger that won't soon be forgotten.


8. The Debbie for Album of the Year 
Winner: Only God Was Above Us - Vampire Weekend
Runners Up: Gangbusters Melody Club - Caravan Palace, Mahashmashana - Father John Misty









It would be easy for a commercially successful and widely known band like Vampire Weekend to just turn out another indie rock album, net a few chart hits and call it a day. But part of the band's appeal has always been their willingness to experiment, to blend radio-friendly musicianship with more avant garde compositions and make something with their own unmistakable mark of identity. Only God Was Above Us marks a culmination of their career to date, thematically hearkening back to their New York roots in a way that blends nostalgia and social commentary with more innovative genre mashups that draw on everything from the baroque stylings of Classical to the chamber pop of Pravda, and even more electronic drum and bass influences. The result is an album that manages to defy easy classification, while still providing an array of memorable tunes. 

First runner up place goes to electro-swing giants Caravan Palace, whose latest album, Gangbusters Melody Club. Since their emergence in the late 2000s, the Parisian group has become the great mainstream success story of the genre, combining their jazz and swing influences with a modern club-infused style that manages to feel both fresh and retro at the same time. If their other recent albums had been trending into more pop-focused areas, this latest work comes back to jazz in a big way, and the result is a silky smooth production that runs the gamut from MAD's big band swing, to the infectiously upbeat Raccoons. I defy anyone to listen to Mirrors without dancing a little.

And in third place, a return to form for Father John Misty. Another artist who's not afraid to mix things up a bit, his last album saw a detour into big-band style swing. New album Mahashmashana marks a return to his indie rock roots, best typified by title track Mahashmashana, as well as the deliciously gritty rock number She Cleans Up. But there's evolution here too, and the highlight of the album is undoubtedly the 8 minute odyssey that blends all of Father John's various influences, rock, disco, jazz, I Guess Time Just Makes Fools of Us All.


9. The Debbie for Debut Album of the Year 
Winner: The Mess We Seem to Make - Crawlers
Runner Up: The Future is Our Way Out - Brigitte Calls Me Baby









The prize for best debut album is always a tricky one, not least because of artists' increasingly unorthodox models for content delivery. Nowadays artists often have several EPs and singles out before anything that can be considered a true LP, sometimes even years earlier. This is the case with Crawlers, a band that has been kicking around in this blog's previews for a while now, but who finally released a full debut LP in 2024, The Mess We Seem to Make. It did not disappoint, receiving critical acclaim for its vibrancy and modern grunge influences. Lead single Come Over Again is still a great track, even though it actually released some three years ago, Messiah another winning number. This band has a lot of promise. 

A number of close contenders for runner up, but ultimately I went for The Future is Our Way Out, the debut album from Chicago-based pop-rock band Brigitte Calls Me Baby. A highly polished debut that seamlessly blends a myriad of influences, sometimes to a fault. This debut drips with solid gold nostalgia, from the mid-century rock-infused bop of Impressively Average, to more Roy Orbison-flavoured crooning with Eddie My Love. It's all delicious, but it relies heavily on that nostalgia. It will be interesting to see how this band moves forward and finds its own distinct identity.

10. The Debbie for Song of the Year 
Winner: Happy - Linn Koch Emery
Runners Up: I Guess Time Just Makes Fools of Us All - Father John Misty, Raccoons - Caravan Palace









This is always a ridiculous category to pick. So many great songs this year, and other than in exceptional cases how do you pick just one above the rest? Never mind that this decision may change from one moment to the next depending on mood. At some point you just need to make a call, and this year that call sees the Debbie awarded to exciting Swedish singer-songwriter Linn Koch-Emery and her mesmerising Happy. A compelling piece of power pop, with grungy hooks, ethereal vocals and yearning lyrics. It's an excellent track from an artist with huge potential.

Next up is the 8-minute piece de resistance, I Guess Time Just Makes Fools of Us All from Father John Misty's latest album. This song is just plain badass. Part funk-rock, part disco, densely instrumental with brass-band backing, and lyrics that go hard. Father John at his snarling best.

Finally, third place, because i'm too indecisive to just pick two things, goes to Raccoons from Caravan Palace's latest album. In an album full of memorable tracks, Raccoons ended up getting the most listening time from me this year. Just an infectiously catchy, euphoric bop of a track. A party song if ever there was one.

11. The Debbie for Live Concert of the Year 
Winner: Snow Patrol









I'll admit, I might be a bit biased towards concerts which also accompany a kickass food festival with such pristine, feel-good vibes. But circumstances aside, this was one heck of a show. Snow Patrol are seasoned performers with an underrated discography over the past thirty years, and they know how to play to a crowd. Gary Lightbody is effortlessly charismatic on stage, and he still has the pipes and gravitas for the big hits. It's also hard not to admire a musician who is game for belting out his power ballads while wind and rain buffets against him in dramatic fashion. Quite the visual, top marks for commitment.

12. The Debbie for Exhibition of the Year 
Winner: Kolonial - Landesmuseum Zurich









If you're wondering why the Swiss cultural museum is running an exhibition on colonialism, you're not the only one. After all, Switzerland is not exactly known for its colonial empire. This groundbreaking exhibition explores some of the less commonly understood ways through which people all over the world contributed to the crimes and injustices of the era, primarily through financing, mercenary work and political lobbying, and in particular the role that Switzerland as a nation played in this. It's a fresh and essential perspective of the global mechanics behind some of the worst excesses in post-industrial history, handled with extreme deftness and sensitivity. A remarkable exhibition, expertly curated. 

13. The Debbie for Book of the Year 
Winner: James - Percival Everett










Business & Technology

14. The Debbie for Scientific/Technological Breakthrough of the Year 
Winner: Casgevy, the first CRISPR Therapy

The Deep Sky was deeply disappointing. I really wanted to like this book, I love a good space exploration story. Unfortunately this novel is just full of bad logic, bad science, silly plot contrivances and about 60% filler. 

The starting hook is pretty solid. Space mission to colonise a distant planet. Somewhere along the way, the captain is murdered, and it falls to our lead character, an outsider who wasn't even supposed to be on the mission and has grave insecurity as to her place on the ship, to figure out what's happened. So far, so Alpha Centauri. Good stuff. Unfortunately that's where the good ideas end. In order to avoid conflict and distraction, this ship is crewed entirely by women, who intend to artificially inseminate themselves in order to populate the new colony. Questionable, but ok. And rather than wait until the end of the mission to do so, they all inseminate themselves currently, while the mission is ongoing. Because apparently no one considered that a dangerous space mission crewed entirely by pregnant women, all pregnant at the same time no less, might be a bad idea.

So the premise is pretty silly, not helped by the fact that the crew are written more like stroppy teenagers than trained professionals. But most egregious is the science. This book is written by someone who clearly does not grasp the basics of space. The terminology is wrong, the use of relativity is wrong, so much is wrong. And yeah, I suppose this is all a bit wonkish, but why write a sci-fi novel if you don't really care about the science? 

This is a great read for anyone with an interest in the business side of football. From the creators of The Price of Football podcast, Unfit and Improper Persons takes a deep dive into the inequities of the football pyramid, the financial aspects of running a football club, and the myriad and often bafflingly archaic red tape that must be navigated in order to play what, on paper, appears to be such a simple game.

All of this is broken down into simple and easily digestible tidbits, illustrated through the narrative of a fictional football club, established at the foot of the English league system, with aspirations of reaching the Premier League, Wrexham style. It's this narrative simplicity that works best, bringing to life what could otherwise be dry and technical subject matter with humour and clarity. If there is a downside, it's that those who are already well-versed in the material may find this all a bit familiar, but for those looking to learn, it's about as fine a primer as has been written.

Based on the true story of Ana Mendieta, Anita de Monte is a Cuban-American artist whose sudden and untimely death at the hand of her husband is quietly swept under the rug. Flashforward a few decades and we have Raquel, an art history student currently working on her thesis, who slowly becomes fixated on the work of the long-forgotten Anita de Monte, and uncovers the truth of her past. 

What follows is ultimately a revenge tale, a parable of inequality in the art world, and a charming enough example of magical realism in fiction. But it suffers from inconsistency. One of the two main perspectives is clearly a more interesting story than the other, and the shifts between humour and drama can be quite jarring. So the result is a book of two halves, one interesting, one lacking any real urgency, with some odd tonal choices.

An intriguing, high concept story. The Last Murder at the End of the World is set on an idyllic, but strictly controlled island, the last refuge of a post-apocalyptic world that has been overrun by killer fog. This seemingly safe and well ordered community is rocked by the murder of one of the island leaders, a murder which triggers a series of failsafes that had been keeping the fog at bay. A race against time ensues to solve the case before the fog consumes everything.

It's all very interesting, bringing to mind the works of Isaac Asimov, or the high concept sci-fi films of the 1970s and 1980s. But, frankly, it's also a bit derivative and you’ll see the twist coming from two towns over (especially fans of the aforementioned Asimov). There's also a few writing issues. The narrative can be difficult to visualise due to lack of meaningful description or context. It's not helped by the fact that there are a huge number of characters, many of whom appear only briefly and for largely inconsequential purposes. It can be a lot of work to memorise their roles and relationships for not much benefit. I did enjoy the ending, however.

One of the year's most hyped books, and it did not disappoint. James has quite the concept behind it. A re-telling of the classic Mark Twain novel Adventures of Huckleberry Finn from the perspective of the slave Jim. But whatever preconceptions you might have about what this book will be, it defies expectations. 

What follows is an electrifying, action-filled turn-pager that expands on its subject matter through a 21st Century mindset. Subversively spotlighting the depravity of contemporary institutions in a way that is both insightful and hugely entertaining. Through the protagonist's journey, Everett deftly examines the complexities of societal expectations and personal authenticity, presenting a narrative that is both thought-provoking and deeply moving. It's about as accurate to history as a Tarantino film, sure, but that doesn't make it any less immersive or memorable.

A new short stories collection from Stephen King, including expanded versions of old work, as well as some never before published stories. Pretty darn good collection as well, some of better work King has put out in a while. 

King's work is often blankly labeled as "horror", which does a disservice to work that is often more thought-provoking than scary. This collection falls firmly into the thought-provoking camp, with a number of highly memorable stories. One in particular, Danny Coughlin's Bad Dream, is mesmerising. More novella than short story, this one occupies around 200 of the collection's 500 pages and is practically begging for a film adaptation at some point.

With two very long books on either side, I admittedly chose the graphic novel Zodiac to provide a bit of a break. I'm glad I did, however.

Zodiac is a graphical memoir from Chinese dissident artist Ai WeiWei, recounting stories of his life, career, and imprisonment, built around a framework of the twelve signs of the Zodiac, and interweaved with Chinese folklore. It's a fresh and deeply creative way to depict such a narrative, helped by some truly gorgeous artwork by Italian comic artist Gianluca Costantini. This is not one for your Kindle, print copy or colour screen only.

After being blown away by last year's book of the year, the non-fiction The Wager by David Grann, I decided to make non-fiction a regular staple of my year's readings. For 2024, I went with The Demon of Unrest, by Erik larson.

This is a vivid and detailed recounting of the five months between the election of Abraham Lincoln, and the onset of the American Civil War. The Demon of Unrest introduces the relevant characters and personalities, the agendas and dynamics that made this slow-burn crisis an inexorable march towards war. Like the best non-fiction, this focuses on the people and their motivations, immersing you into each event as if it were a novel. Larson uncovers far greater depths and intrigue than most of us would ever have suspected could fit into such a short space of time, and the result is a genuine page turner of a book.

Opting for something a bit lighter next, and upon announcement of the incoming Netflix film, I went with The Thursday Murder Club, the first novel in Richard Osman's series of the same name.

Set in a peaceful retirement village, the story follows a group of quirky and endearing seniors who spend their days solving cold cases—until a real murder lands in their laps. Osman’s debut novel appeals with its sharp dialogue and wit, but I found myself left strangely cold. For a whodunnit, the breadcrumbs left throughout the novel mostly don't lead to anything, with the various mysteries left unrelated and disconnected. The super short chapters (many coming in at less than a page long) and constant switching between characters also makes it difficult to connect to any one person in this novel, or to explore their depths beyond the surface level. Breezy, fun, but largely inconsequential.

Set in a not-too-distant future America, one which has seemingly collapsed into chaos and lawlessness, I Cheerfully Refuse follows an aspiring musician as he sets sail on Lake Superior in search of his departed, deeply beloved, bookselling wife. If the tagline reads a bit like ChatGPT coming up with a concept targeted at 2024 literary critics, the result actually lives up to its high concept premise.

This is a novel that grows on you after reading. Truthfully, there were times when I found it difficult to get through while reading, slow-burning and somber as it is. But ultimately, there is something deeply ingraining about this novel's quirky characters and the bizarre incidents and dilemmas they encounter. Through its lyrical prose and richly drawn characters, the novel delves into themes of resistance, renewal, and the pursuit of joy in the face of life’s challenges. The story is a gentle reminder that even small acts of defiance can carry profound meaning, making it a deeply resonant and uplifting read for those seeking hope and inspiration in everyday life.

Following up his best-selling blockbuster of a novel, The Midnight Library, was always going to be a tough ask for Matt Haig. With that in mind, I actually quite enjoyed this.

Told through the framing of a series of personal correspondence, The Life Impossible follows a retired math teacher who travels to Ibiza in search of a long lost friend, and uncovers a mystery far greater than she ever imagined. There is something I find quite nostalgic about this novel, almost a throwback to the classic feel-good sci-fi fantasy movies of the 1990s that I grew up with. An expat travels to an exotic island, ingratiates herself with the locals, hears their tall tales and slowly realises the limits of her skepticism. The trouble is, there isn't much here that we haven't seen before. It all feels a bit too familiar, and while it's all good, there isn't much in the way of truly original ideas.

Oof. I am usually a pretty big fan of Haruki Murakami. In his decades long career, the legendary Japanese novelist is credited with getting many, myself included, into reading. His blend of magical realism and the mundanity of life is practically a unique genre unto itself, one that has spawned many copycats over the years. Yet, his work has fallen out of fashion in recent times. The City and its Uncertain Walls is a perfect illustration of why that is.

This is a novel that just never really gets going. The key to the success of his earlier work has been to seamlessly integrate the weird to the mundane, to make it relatable and easily digestible, and in doing so, to open up readers to entirely new ideas without them even realising. This novel feels like it skips that first step, it starts off full of alien concepts and terminology which are never really defined or traced back to the real world, making them difficult for readers to relate. The plot meanders with little direction and at a glacial pace, and while it does pick up a little in the second half, it rarely feels like it justifies its own existence. This feels like Murakami by the numbers..

So there it is. Twelve months in books. Can I keep it going another year? You bet, because reading is awesome.

The first thing that hits you when you arrive is the natural beauty. This is a stunning country, with postcard views in every direction. Mountains, lakes, forests. The natural landscape forms an integral part of Swiss identity, both something to be proud of, and to be respected. This is a nation of people who looked at some of the harshest, most inaccessible terrain on the planet and thought to themselves "yeah, let's build there". They ski as soon as they can walk. Their weather-hardened infrastructure remains operable through a blizzard, where London would shut down with even a light dusting of sleet. The Swiss people understand, better than anyone else on Earth, how to master their environment, not through conquest, but adaptation.

In terms of beauty, the cities and towns are more of a mixed bag. The historic city centres are absolutely gorgeous, with romanesque and gothic stonework, romantic cobbled streets and buzzy town squares. Small villages dot the countryside with its iconic alpine chalets and intricate woodwork. But Switzerland is a very small country. Its population has doubled since the mid 20th Century, which means that a large chunk of the nation's existing urban construction consists of that rather ugly post-war function-over-form low-cost style. Concrete and chain-link fences. To be fair, some of the nicer examples of new-build developments have developed a cool, brutalist charm, but many of them just feel low-cost and mass-produced, especially when combined with the late 20th Century's automobile-centric design philosophy. 

As with many nations which underwent urbanisation in the post-war era, Switzerland adopted the automobile-centric design which was so in trend. Dense roadways often run directly through urban and residential centres, or alongside lakes and other areas of natural beauty. It's a style that has aged poorly, although in fairness Switzerland, like most other recently urbanised nations, has started trending away from this, and the newest housing tends to be much nicer, and more in keeping with modern sensibilities. For example, in the town we live, just a short distance outside of Zurich, all new builds are closely regulated in order to maintain the local appearance. It's not that the construction needs to be old fashioned, or an imitation of the old. It's more of a modern twist on the classical aesthetic.

What does one actually do in Switzerland? As previously noted, Switzerland is a small country compared to the UK, and even its largest city, Zurich, has a mere fraction of what a city like London has to offer. In my view, London is one of only three or four cities in the world where you will never ever get bored, where new things pop up all the time and there is no end of available experiences. Zurich is not that. 

One question that I have been asked frequently since moving to Zurich is whether I miss London. Of course I do. As I said, London is a unique city with endless action and every amenity you can imagine. But at the same time, I don't miss it anywhere near as much as I thought I would.

I like going out in London, but it's not as if I was doing that every day. It turns out I'm quite happy to live my day-to-day life in a more secluded and quiet location, especially as the city is easy enough to access. While I live in a fairly quiet town, a mere 25 minute train takes you into the centre of Zurich, far less time than it takes to get anywhere in London. As for London itself, an hour and 20 minute flight every now and again really isn't that big a deal, and so I still manage to get my London-fix when I need it.

So what of the Swiss people's notorious impenetrability to outsiders? I have to say that I have not really seen this, although granted I have a bit of a cheat-code with my Swiss wife, and so my experience may not represent that of most immigrants. Nevertheless, in my dealings I have always found the Swiss to be a friendly and welcoming people. Zurich in particular is a very international city with a great number of English speakers. Ultimately, I think if you embrace the Swiss way of life and contribute to the community, you will be welcomed here. If all else fails, just get a Swiss wife.