With the exception of the Siddiquis from Gogglebox, the Goodmans are arguably the funniest family on British telly right now. Each episode of Robert Popper's sitcom highlights the chemistry between Simon Bird, Tom Rosenthal, Tamsin Greig and Paul Ritter. This week, Uncle Saul's funeral means Martin's mum - AKA Horrible Grandma - is back in town, making Adam and Jonny's squabbling seem good-natured by comparison.

It was mainly business as usual on Friday Night Dinner with more calamity for the family who just can't seem to have a quite meal together. This week's comedy of errors saw Paul Ritter's fantastic patriarch invite round his old uni friend to dinner however it later became clear that he'd got mixed up the two Tonys that he went to university with. Instead of inviting round the guy who he had a lot in common with he was lumbered with Jason Watkins' unfunny bore whom he tried to get rid of by telling a rather whopping lie. Just like prior episodes of the sitcom, this episode of Friday Night Dinner played out like a mini-farce which ended with a big gag that I for one didn't find in the least bit amusing. In my opinion Friday Night Dinner is at its best when we just see the family engage in witty interplay as I feel the core cast have developed some fine chemistry over the past four series. However it's when events get too far-fetched that Friday Night Dinner loses its way and after watching the series four opener it feels that Robert Popper's comedy has run out of ideas. The problem with Friday Night Dinner is that the entire premise shackles the characters to the same setting every episode meaning that Popper has to find increasingly outlandish things to happen to the family which just don't ring true.

Review: Friday Night Dinner, C4

There is nothing particularly groundbreaking here. Just a lovely, well-observed, faintly farcical fast-moving storyline as one minor white lie - they claim Jackie's mother has died so that they can cancel dinner and turf Tony out - sends events spiralling out of control.

We're Doomed: The Dad's Army Story dramatises the tale of jobbing actor Jimmy Perry (Paul Ritter) who together with his agent's husband David Croft (Richard Dormer) wrote one of the nation's favourite sitcoms. When I first started watching We're Doomed I thought that writer Stephen Russell's work would be up there with other making of dramas such as The Road to Coronation Street and An Adventure in Space and Time. However I gradually realised that We're Doomed lacked the bite of both of those shows and it was a little bit too light for its own good. One of the main problems with We're Doomed was that Dad's Army wasn't beset with many problems aside from a sceptical BBC Boss and an audience who may not have been ready for a comedy about a recently fought war. But what We're Doomed lacked in edge it made up for in two sympathetic lead characters who were played by a couple of fine performers. Paul Ritter perfectly portrayed Perry as the wannabe star who became an accidental sitcom writer after trying to net himself the role of Walker. Ritter's animated turn was perfectly balanced by Richard Dormer's very dry interpretation of the grounded David Croft. The action started to pick up when the familiar faces of the actors started to appear on screen most notably Arthur Lowe who was convincingly portrayed by John Sessions. Sessions made Lowe the star of the show both on and off camera especially when Croft and Perry worried that he'd struggle to remember any of his lines. The humour of the piece was perfectly offset by a couple of more emotional moments such as when Perry realised he wasn't going to play Walker and when later he watched his hero Bud Flanagan perform the iconic Dad's Army theme tune. Even though it was a little rushed, I felt that We're Doomed told its story well primarily due to its combination of wit and sympathetic characters. Ultimately the drama was the perfect fit for the festive schedules and also provided the perfect taster for the upcoming Dad's Army film.

We're Doomed! - an exercise in marking time

Somehow, though, unlike the troop hired to play the ragbag of Army volunteers, it never quite came together. Paul Ritter's Perry was too needy and snappy to be likeable. The BBC stuff-shirt types all blended into one, the production hitches weren't interesting enough. The question we must ask of all tributes and 'stories of' is, was that better than watching the real thing? Only, I'd say, if you prefer powdered eggs to real ones.

Paul Ritter stars as frustrated thesp Jimmy Perry, while Richard Dormer is David Croft, a jaded comedy producer feeling pushed out by the BBC. When Perry comes to Croft with his script for a sitcom tentatively titled The Fighting Tigers, the two men begin a battle against "the enemy within" to get it made by the BBC. The dialogue may be on the broad side, but the acting and direction are splendid. Ritter and Dormer are grippingly good, while John Sessions makes for an astonishing Arthur Lowe.

Paul Ritter stars as frustrated thesp Jimmy Perry, while Richard Dormer is David Croft, a jaded comedy producer feeling pushed out by the BBC. When Perry comes to Croft with his script for a sitcom tentatively titled The Fighting Tigers, the two men begin a battle against "the enemy within" to get it made by the BBC. The dialogue may be on the broad side, but the acting and direction are splendid. Ritter and Dormer are grippingly good, while John Sessions makes for an astonishing Arthur Lowe.

Radio Times review

From the animated-arrow captions to the church hall set re-creation, this knockabout biopic envelopes Dad's Army fans in a very warm embrace. It charts the meeting, partnership and battles with the Beeb of two of our finest comedy writers, Jimmy Perry and David Croft, whisking us back to the smoke-wreathed 60s - all brown and beige, big specs and high hems.

Writer Stephen Russell holds your hand through the who's who and what's what, but with a lightness of touch and a deep affection for the imperishable Home Guard sitcom. There are lump-in-the-throat moments, too: Perry overseeing his hero Bud Flanagan record the theme tune is a beauty (Bud died shortly afterwards), and the whole thing ends with the perfect pop song.

Paul Ritter and Richard Dormer are superb as flamboyant Perry and commanding Croft. Just as this drama is a tribute to them, so is Dad's Army's longevity. Frank Williams, 84, the show's original vicar, recently told RT, "People have often asked me whether there was a lot of re-writing? No there wasn't, because there wasn't any need to. They produced the goods."

You have been watching their work for four decades, and will be for many years to come.

Pleasant surprise of the week came in the form of BBC Three comedy Top Coppers which I thought would be another awful offering to match the woeful Crims. Instead this loving pastiche of 1970s and 1980s cop shows offered some big belly laughs and some wonderful observational gags on top. Writers Andy Kinnear and Cein McGillicuddy have employed a high gag ratio but at the same time haven't forsaken the plot of the episode over getting cheap laughs. Meanwhile the cast seemingly realise that the best way to pull off a successful spoof is to play it dead straight and that's what most of them have done. Top Coppers is centred round the Justice City Police Department and more specifically Detectives John Mahogany and Mitch Rust (Steen Raskopoulos and John Kearns). Mahogany and Rust have a strong bond which looks to be tested when the former wants to go out with the new girl in the office rather than enjoy movie night with his colleague. This decision leads Rust to go to some extreme lengths to compensate for his loss which includes trying to recreate certain scenes from the movie Speed. The best recurring gag in the first episode for me involved the fact that gangster Harry McCrane (Paul Ritter) had recently purchased an ice cream factory meaning that the employees now had to produce both ice cream and drugs. Although at times Top Coppers may have been a little silly, I felt that it was one of the more tightly-plotted TV comedies that I've recently seen. More than anything Top Coppers was just very funny and that's more than I can say for most of the British sitcoms I've watched during 2015. I'm just hoping that the enjoyment that I garnered from the opening instalment wasn't a one-off and that Top Coppers will go down as one of my favourite comedies of the year.