Rivals’ Rutshire – a place where modern Britain’s brutal divisions disappear in a cloud of sex | Jess Cartner-Morley

As the second series of the Jilly Cooper adaptation climaxes, we can be thankful that quality TV doesn’t always have to be bleak and stressful

For Jilly Cooper devotees – a motley band that unites me with Queen Camilla and Joanna Lumley, Ian Rankin and ex-footballer Tony Adams – it has been the best of times, and the worst of times. (No apologies for the clunky Tale of Two Cities misquote. Jilly was fond of gleefully shoehorning in the odd bit of Dickens, or Shakespeare, or Wordsworth.) The best of times, because the television adaptation of Rivals has shown the world what some of us knew all along, which is that Cooper’s stories are life-affirming and wise and hysterically funny; but the worst of times, when Cooper’s unexpected death last year cut short the late-life renaissance in which she was quite rightly revelling.

The first half of a blissful second season of Rivals comes to a climax this week (puns always intended). Six heavenly hours on the sofa, following the professional rivalries and personal dramas of a hard-drinking bunch of 1980s telly executives as they bomb along Cotswold lanes blowing Silk Cut smoke through the open windows of their Austin Metros, or pogo to Nena’s 99 Red Balloons on sticky pub carpet while knocking back tequila shots. Rivals has reminded us that good television can be fun. A golden age of television has given us some modern masterpieces, but the payoff for artistic quality has been that prestige viewing has become, for the most part, pretty bleak. Adolescence was utterly harrowing. Baby Reindeer was a pretty tough watch. Even The Bear and The Pitt are kind of stressful. Life in Rutshire has gifted us television as it used to be: a naughty, indulgent treat.

Jess Cartner-Morley is associate editor (fashion) at the Guardian