

Nathan Barley is a Channel 4 sitcom written by Charlie Brooker and Chris Morris, starring Nicholas Burns, Julian Barratt, Charlie Condou and Claire Keelan. The series of six weekly episodes began broadcasting on 11 February 2005 on Channel 4. Described by his creator as a "meaningless strutting cadaver-in-waiting", the character originated on Brooker's TVGoHome – a website parodying television listings – as the focus of a fly-on-the-wall documentary called Cunt.
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In the final episode, Nathan finds his way into Claire's meeting with a TV commissioner, Pingu is finally broken like a rag doll and Dan discovers a way to get rid of Nathan.
Baffled human wreck Dan Ashcroft watches in horror as his world is over-run with 24 carat berks, led by a strutting, brainless cock-of-the-walk called Nathan Barley, who, distressingly, has designs on Dan's sister Claire.
Dan is canonised against his will, while Nathan throws a party for his God-defeatingly rubbish website and oozes closer to Claire.
While Dan is plagued by a shrieking twit of a photographer called 15Peter20, Nathan grooms Claire with alcohol and unsolicited breast massage.

Dan accidentally creates a new hairstyle after sleeping in paint. Nathan tries to impress glam TV chick Dajve ""dave"" Bikinus. Something is killed.
Editor Jonatton wants Dan to take part in some straight-on-straight gay action. A coke-blasted model proves an irresistible lure for Nathan.

In the final episode, Nathan finds his way into Claire's meeting with a TV commissioner, Pingu is finally broken like a rag doll and Dan discovers a way to get rid of Nathan.
Co-written by Chris Morris and Charlie Brooker, "Nathan Barley" takes aim squarely at the self-promoting, style-over-substance culture of early 2000s London hipsters. The titular character, played by Nicholas Burns, is a 'self-facilitating media node' who embodies everything irritating about the scene. The show's satirical eye is sharp, predicting many trends in online self-aggrandisement. It features early appearances from Benedict Cumberbatch and Richard Ayoade. While perhaps less overtly surreal than Morris's earlier work, it retains a cynical edge and a keen observation of cultural trends that makes it a fascinating time capsule and critique.