The main source of the comedy in Miranda is that she is a human stegosaurus, huge and hugely unfanciable, which as others have noted is politically not very correct. And if political incorrectness isn't reason enough on its own to love Miranda, there are plenty of other reasons, not least, in our house anyway, that it is the first new primetime sitcom I can recall that unites the whole family, all laughing our socks off. The hugely engaging Miranda Hart also deserves a medal, or better still a Bafta, for reminding us that slapstick can be funny. Not an episode goes by without her tripping over something, or getting stuck in something, which in less assured hands would be justification for throwing a heavy object at the telly, but it takes real deftness to appear as galumphing as that. She might even be the reincarnation of Tommy Cooper. At any rate, she deserves to have her name in the title.

One of the best things about Miranda Hart's sitcom is her old schoolfriend Tilly, played by the inestimable Sally Phillips. This week, she tries to fix up her old mate mate "Kongers" with a blind date, "Dreamboat Charlie" (Adrain Scarborough). When that doesn't work, she has to suffer the indignity of her mother setting her up.

Miranda is such fun

"Hi team. Pleasure to be virtually with you again. So here we are, penultimate episode."

Well-meaning Miranda faces yet more social horrors when her friend sets her up on a blind date and her mum organises a themed party. Even worse, it's Valentine's Day. "I don't know who St Valentine was, but I hope he died alone surrounded by couples," shrieks Miranda before she falls over the furniture, yet again. There's too much falling over in Miranda. Yes, I get it, Miranda Hart is very tall and she's an accomplished physical comedian, but enough. She's much funnier when she's hopeless without being pathetic, like when she goes on an excruciating blind date arranged by her mobile-phone-obsessed friend, Tilly. Hart's artlessness is winning and in her own roundabout way she makes some good observations.

Miranda Hart is a distinctly amiable and engaging comic whose funny bones are as prodigious as her height. Hart, a stand-up, made her way on to TV via the exemplary Smack the Pony, the execrable Hyperdrive and, latterly, the excellent Not Going Out, in which she channelled Count Duckula's Nanny - an oversized hen who is impossible to dislike. All of which has led to her own show, which at first felt rather twee, what with all her knowing glances to camera and the actors' waving over their names as the credits rolled à la Dad's Army. Really, who do you think you are kidding?

But, to Hart's credit, the series has picked up, and its latest outing, which saw her taking a holiday - to Thailand, she told her friends, but actually around the corner to a luxury retreat - had me in fits. Not for its originality of premise - taking on a self-improvement lecturer's persona and playing merry hell with it is not exactly mind-blowing - nor the farce (one of the friends she lied to turns up as an "escort" she mistakenly ordered) but perhaps because it is impossible not to warm to someone so at ease with their own inadequacies.

Promoting her show Big Top, Amanda Holden asked the salient question: "In this current climate who wants to watch a desperate family in their living room? They want escapism, colour and clowns - even if they're rubbish!" Well, Amanda, sorry to disappoint, but I'd rather spend the rest of this seemingly never-ending crunch watching Miranda Hart and her friends struggling to make something of their lives than another second of you sending in the buffoons.

Over the past three weeks, word of mouth has steadily been growing about new BBC Two comedy, Miranda. At first glance, it's a rather curious proposition: a star vehicle for Miranda Hart, which is sort of in the style of an old-school sitcom, features Tom Ellis and Patricia Hodge, and has a mixture of slapstick style gags and great observational wit. On paper, there's no way this show would work, and for the first few minutes of an episode you're thinking 'what the hell is this?'

But persevere with it, as many have done, and the delights of this show start to become apparent. Miranda is a much warmer presence than some of her other TV appearances might have implied. Her pieces to camera are actually more endearing than annoying most of the time, and the supporting cast look like they're having a lot of fun.

Yes, it's couched in old sitcom values, but that's not neccessarily a bad thing. There's something rather sweet and familiar about it, even down to the old Croft and Perry style end credit waving sequence. A lot of the humour in here feels real and accessible. And if you're still not convinced - Grace Dent thinks it's marvellous, and she never lies.

Miranda Hart's sitcom is ridiculously silly, and that's just part of the reason why I like it so much. Tonight, the joke shop owner decides that, as a single woman, she is carefree enough to jet off on holiday at a moment's notice. But to avoid the hassle of long-distance travel, she books into a hotel across the road...

Miranda and the man from Skins

This week's episode is the directors (the fabulous Juliet May) favourite script. And I think the one I probably enjoyed doing the most. That could have been something to do with the dancing to Billy Joel.

One simple creative decision makes this infectious comedy sing: having Miranda Hart break the fourth wall and address us directly. Allowing her warmly manic alter ego to glance, mug and chat to camera makes us feel in on the joke. Few comedy performers have enough innate charm to carry such a performance off, but Hart does. Tonight, another unapologetically creaky story sees Miranda go on holiday to a hotel just round the corner.

Canned laughter is not canned!

Every single review/preview of Miranda Hart's new show, Miranda on BBC Two, that I've read, including the many positive ones, refers to the sound of the studio audience heard during the show either as canned, or as a "laugh track". Canned laughter, on a sitcom? Don't make me laugh ... it's the real thing.