Worzel Gummidge is a tender comic triumph

In his remake of the beloved series, Crook proves both that he is John Pertwee's natural successor and he understands children completely.

The first episode of Hold the Sunset was so gruellingly unamusing I was determined to have nothing more to do with it. Then John Cleese objected to my review on Twitter and argued that only people who had TV are qualified to critique it. I did try two more episodes. If anything, the script deteriorated, leaving fine comedians including Rosie Cavaliero and Jason Watkins to overact their socks off. A second series is coming next year. Can an average audience of 4.65 million possibly be wrong? A majority of commenters on The Arts Desk would suggest they might. For a proper depth-charged comedy about an autumn romance thwarted by selfish hangers-on, stick with Mum.

Hold the Sunset Christmas special, review

It is as if the writer put down his pen midway through crafting an hour-long special and shoved in a heart-warming Christmas singalong to end things.

Friday Night Dinner, Channel 4 review

Predictable but fun.

Friday Night Dinner, review

This gentle sitcom should be required viewing for anti-Semitic trolls.

TV review: Friday Night Dinner, C4

This is a grimly funny episode full of great lines and fabulous performances, including the dog.

I turned to BBC One on Sunday night as the channel aired a brand new sitcom in the form of Hold The Sunset; a show that had been primarily promoted as John Cleese's big return to TV. Cleese stars as Phil; a slightly crotchety gent who has been in a relationship with his neighbour Edith (Alison Steadman) for several years after their respective partners passed away. The opening of the episode sees Phil attempt to propose marriage to Edith who eventually accepts this along with his offer to move to sunnier climes. However, their future happiness is halted by the arrival of Edith's son Roger (Jason Watkins) who has left his wife to move back into his childhood home and quickly regresses into a childlike state. Later, Roger's wife Wendy (Rosie Cavaliero) arrives at Edith's to confront her husband, however her kindly exterior frustrates her mother-in-law who quickly snaps at her. So, begins the start of a six-week journey where Roger will no doubt get angry about Phil's relationship with his mother and will probably attempt to sabotage it. For a sitcom that was promoted as Cleese's return to the BBC, he has very little to do here once the plot kicks in and Roger arrives back. Phil is presented as somewhat of a stick-in-the-mud but one that stands back and lets the drama unfold rather than doing anything about it himself. Cleese's chemistry with Steadman isn't strong enough to make me believe that the pair have known each other for decades and want to spend their twilight years together. The stand-out performance in Hold The Sunset comes from Jason Watkins who provided the sitcom's only laugh-out-loud moments, however Roger is such a petulant character that it's hard to sympathise with him. Similarly, Rosie Cavaliero's Wendy should be a sympathetic character, but she's painted as such a passive woman that you feel Edith's frustration towards her. Charles McKeown, who's best known for his work with Terry Gilliam, crafts rather obvious comedy situations which feel very tired by 2018 standards. This is best exemplified by the closing set piece which sees Roger getting stuck in the shed window whilst trying to escape an awkward confrontation with Wendy. Hold The Sunset reminds me of David Jason's The Royal Bodyguard, as both were created as star vehicles for comedy legends and both have fallen flat at the first hurdle. Despite a fine comic turn from the always-reliable Watkins, Hold The Sunset failed to make me laugh or sympathise with the characters, so suffice to say I won't be tuning in again.