Graham Kibble-White

When the stand-out moment from a new comedy is a sequence involving funny dancing, things aren't going great. Particularly when said comedy has been perhaps the most eagerly anticipated of the year. But then, let's face it, when you pick over the bones the omens weren't great for Max and Paddy's Road to Nowhere.

Like so much regular viewing on telly, Gash's main strength has to be its ubiquity. Already it's marked out as the programme I watch before the lights go off and I make my way up to bed. And for me, there it will stay, because despite the efforts of Armando Iannucci, my conversations are still far more likely to start: "So what about that I'm A Celebrity then, eh?"

OK, so we're nit-picking here, but it's hard to help yourself when you're watching such a limp version of a previously excellent series. Where Only Fools and Horses used to be fast, funny and confident, it's now a kind of embarrassing footnote that serves only to deflate the latter half of Christmas Day.

For this reviewer, anyway, Look Around You has remained terribly one-note. It appears that the comedy is supposed to stem from the juxtaposition of earnest presentation and nonsensical content. The few "proper" gags that have been slotted in alongside this approach have themselves been laboured and uninspiring.

Despite the shortcomings in the plot, Auf Wiedersehen, Pet has been the best "new" British drama on TV this year. Its return, whilst critically not quite living up to its previous two series, has still been very welcome indeed.

Most of all the programme was lacking in pace. With an atmosphere stilted and shorn of any sense of improvisation, this tribute felt more like a script read-through. Ironically if the lads had been less reverential to the source and allowed more of their own ebullience to shine through the whole thing could have been far more successful.

With TV Go Home, E4 are leading the pack and establishing new trends again. Just as it's become a cliché to say that a television adaptation rarely transcends the source text, E4 are establishing a whole new standard - "It's not as good as the website".

Yet, considering it's still early days for the series, episode one of Bob and Rose is little short of a marvel. It's utterly mainstream but quietly subversive in the assumptions Russell T Davies makes.

In the final analysis, this obviously wasn't the best episode of One Foot In The Grave ever - nor even of this series. But how can we really be well disposed towards the episode that ends it all anyway? With a macabre final twist (cf Jonathan Creek again) and a very affecting pastoral shot over the end credits, this was still superior stuff.

However, we shouldn't be too churlish about Harry Enfield's Brand Spanking New Show. The fact that Sky One are now originating a fair amount of original material is something to be celebrated. It is a shame, of course, that with Enfield we're getting more of the same.