Reviews

'Carrott's Lib' ended in 1983. Four years later, Jasper returned with the same formula - monologues and sketches guying the week's news. Chris Barrie and Nick Wilton having moved on ( Jan Raven made occasional appearances in the new show ), Jasper was joined by newcomers Hugh Dennis and Steve Punt ( as I write this, they are currently on tour in the UK ). Rupert Murdoch's Sky Television was launched around this time, and Jasper got big laughs simply by reading aloud a list of its alleged highlights, which included a documentary fronted by the disgraced Frank Bough, a revival of 'Sale Of The Century' ( without Nicholas Parsons ) and ( if you can believe it ) a talent show hosted by Keith Chegwin. Thatcher's hated poll tax and the salmonella scandal were two more comedy targets.

Ex-Morecambe and Wise writer Dick Hills was among the contributors. Guest stars included the great Spike Milligan and Rory Bremner ( in the days when he was still funny ). Each edition began with Jasper leaving his dressing room and being confronted by celebrity lookalikes of whoever was in that week's news. Instead of different singers each week, here there was just one - the American Loudon Wainwright The Third. After three seasons, 'Carrott Confidential' ended, but Jasper, Steve and Hugh would soon be seen in a new show - 'Canned Carrott'.

As the votes in the 1983 General Election got counted, Jasper Carrott took to the airwaves with a special edition of his award-winning BBC sketch show 'Carrott's Lib'. It had impacted on Saturday night viewing in a way that had not been seen since 'That Was The Week That Was' in 1964. ( Before anyone says "what about 'Not The Nine O'Clock News'? It was not a Saturday show - it went out on Mondays - and so does not count. So there. ). Jasper and his jokers made fun of Margaret Thatcher's arrogance and Michael Foot's unsuitably for the job of leader ( he was easily on a par with Jeremy Corbyn in that respect ). Other targets included Norman Tebbit, Peter Tatchell, Cecil Parkinson, Sir Keith Joseph and William Whitelaw. Among the sketches - some of which were written by Ian Hislop and Ben Elton - we got a spoof of 'Call My Bluff' in which Labour candidates did not know the meaning of words like 'unlateral'. The SDP and Liberal parties also came under fire. Nick Wilton was still around, but replacing Kay Stonham and Debby Bishop was Emma Thompson, the latter particularly adept at spoofing housewives and upper-class Tory ladies. Christopher Barrie was also new, and his impersonations of Sir Robin Day, Denis Healey and Michael Foot were delightful. He would rejoin the series later in the year. Emma did not, however, and her place was taken by the equally talented Jan Ravens.

There was never any doubt what the outcome of the election would be. Despite three million being on the dole, Thatcher's popularity was boosted massively by the 'Falklands factor'. Poor Labour would have to wait until 1997 before getting back into power.

Funniest moment - Emma's appearance as 'Lady Algae Falkland', a not-very bright lady in favour of the proliferation of nuclear weapons or, as she puts it, 'mummies for missiles'.

'Empire Of Death' brings to a close an outstanding season of 'Doctor Who'. Ncuti Gatwa has successfully replaced the great David Tennant, and Millie Gibson is the best companion since Billie Piper. A solid conclusion. The only thing that disappointed me is that we did not get a return appearance by the reanimated mummies from 'Pyramids Of Mars'. The problem with the deadly dust-cloud idea is that it has been done before, in Chris Chibnall's controversial 'Flux'. However, the highpoint was seeing the Doctor come to terms with the realisation that he has unwittingly helped Sutekh destroy the universe. Can you imagine a fez-clad Matt Smith in the same scene? Disaster!

Another revelation was the sight of Mel becoming Sutekh's servant. She was terrifying! I loved the 'rememberance Tardis'. Just seeing Pertwee's 'WHO 1' number plates after all these years was a joy.

By the time the Christmas Special ( its by Moffat, whose other specials are probably best forgotten ), we will know the outcome of this year's General Election. I wonder who will win? Best not to predict. As the Doctor himself might say; "there's always a twist at the end!".

The American comedy sketch series 'Turn-On' has acquired a legendary status as 'that show that was cancelled mid-way through its first episode'. Never shown in the U. K., when I found out it was on You Tube, I watched with interest. It is remarkably easy to see why it failed; it was totally different to what else was on U. S. television at the time. Audiences probably found its mixture of comedy and computers disturbing. George Schlatter also produced 'Rowan & Martin's Laugh-In'. No studio audience was used. Interestingly, in the same year it was made ( 1969 ), over in Britain, John Cleese and a gang of comedians were also breaking new ground with 'Monty Python's Flying Circus', only with far more successful results. The sketches in 'Turn-On' varied in quality from the inspired to the inane. Among the writers was Norman Hudis, who worked on the early 'Carry On' films. The guest-stars included Robert Culp and Sebastian Cabot.

You can see how 'Turn-On' anticipated later shows such as the BBC's 'Three Of A Kind' and 'Kenny Everett'. It was a 1980's show that happened to be made in the 1960's.

Poor Bonnie Langford. Fans gave her a hard time back in the 80's. Her character - 'Mel Bush' - was prone to screaming and running away. Not her fault. That's the way it was written. Now, at last, in 2024, she's been given the chance to shine. Mel, now working for UNIT, has gone undercover to investigate the mysterious 'Susan Triad' ( Susan Twist ), whom the Doctor keeps seeing throughout his travels. Is Susan really his granddaughter? Or is someone trying to trap our hero?

This is the latest in a line of first rate episodes written by Russell T. Davies. UNIT is back ( love their base ). When the Doctor and Ruby used the Time Window ( let's have more of that idea please ) to explore her past, i was on the edge of my seat. The big reveal at the end was similar to the climax of 'Utopia' in 2007, but that's okay by me. This season has proved every bit as good as the ones from RTD's previous run. I look forward to the conclusion next week.

In this sad week ( we lost Wiliam Russell, who played 'Ian Chesterton' back in the 60's ), we get another cracking 'Doctor Who' episode. 'Rogue' is set in Regency era England, and the Doctor and Millie are dressed in the clothes of that period, and enjoying themselves hugely at a ball in a country manor. But this would not be 'Doctor Who' unless there was menace afoot, and indeed there is. A race of shape-shifting alien birds are copying people. The doctor is not the only interested party; also present is a handsome bounty hunter named 'Rogue' ( Jonathan Groff ) and the Doctor is instantly charmed by him..

Sooner or later, a gay kiss was bound to happen in 'Doctor Who', and here it is. I was not shocked by it. 'Doctor Who' is not and never has been a show for bigots. Although RTD did not write this episode, his influence is unmistakable.

As with the rest of this season, the casting of Ncuti Gatwa as the Doctor and Millie Gibson as 'Ruby' is impossible to fault. At times they remind me of the Eccleston and Piper double act that so strongly defined the 2005 comeback. 'Rogue' ends on a touching note. Perhaps Groff can be enticed back for further episodes? I hope so.

After last week's superb '73 Yards', it did not seem possible that Russell T. Davies could have come up with another episode of similar quality, but with 'Dot And Bubble' he has managed to do exactly that. We are in an alien city in the far future. The inhabitants are young, rich, and good-looking. They are only required to work a minimum of two hours per day. The rest of the time they spend on social media. They wear 'bubbles' containing images of their designated friends. Like Facebook only much worse. The Doctor attempts to warn 'Lindy' ( Callie Cooke ) she is in deadly danger, but she ignores him, so Ruby steps in...

This is a story I have always wanted to see in 'Doctor Who' - social media becoming a cover for an evil conspiracy. Lindy and the other people around her are under threat from giant slugs ( who look like something out of a 1960's 'T. V. Comic' strip ).

The ending is a real shocker as Lindy is revealed to be a not very nice person after all. Davies infers that racism will still be around for years to come, despite the best efforts of political correctness.

In a week when a UK General Election has been announced, the timing of this episode could not be better. The Doctor and Ruby are in Wales. Exploring some clifftops, they find what appears to be a magic circle. The Doctor accidentally steps on it, and winks out of existence, leaving Ruby alone. Not quite alone, as an evil force is now on the loose. It takes the form of a deranged politician named 'Roger ap Gwillym' and he will start a nuclear war unless Ruby stops him.

This is far and far away RTD's best script since he became showrunner again last year, and is the best episode of this season so far. Ncuti Gatwa was busy working on another project, and so there's not much of the Doctor here, but this does not matter as it gives Millie Gibson a chance to shine, and boy, does she. Sian Phillips ( I', Claudius' ) is around, and there is a return appearance from the enigmatic neighbour 'Mrs. Flood' ( Anita Dobson ). What does the 73 yards woman keep saying to people that causes them to panic and run away? I don't expect we'll ever know. Perhaps its "Moffat's writing this year's Christmas Special!". Arggh!

Steven Moffat has been writing for 'Doctor Who' since 2005 and I have not enjoyed any of his episodes until now. 'Boom' is a marked improvement on the confusing episodes he wrote as showrunner, which were uniformly lousy. It owes a great debt to the opening episode of Terry Nation's 'Genesis Of The Daleks' ( which also had the Doctor stepping on a landmine ). In the earlier story, the Doctor got off the landmine after only a few minutes whereas here the predicament takes up most of the episode. The war-torn landscape is similar to those we saw in the 'Terminator' movies. What makes this episode work well is the superb acting of Ncuti Gatwa ( who gets better each week ) and Millie Gibson. It is good to see a Moffat script with a decent Doctor at the helm, not some gurning clown in a fez. The only flaw would be the throwaway reference to 'fish fingers and custard' which is Moffat paying homage to himself. If he can write more episodes of this calibre, then fine, let him do so. If not, he should stay away.

'Terry & June' is to be repeated on Britbox with warnings about its potentially offensive content. Back in the day ( 1980's ), it was criticised for being bland and inoffensive. What has changed? How is the sight of Terry Scott falling off a ladder suddenly unacceptable to 21st audiences? Is someone having a laugh here?

Onto 'The Footage Detectives' in which Mike Read and Noel Cronin show old commercials and home movies and viewers' letters ( some of them quite witty ) are read out. Its a sort of 'Ask Aspel' for adults. I'd hate to see the same programme with a couple of young people in charge. They'd probably insult everything on view. Mike and Noel are pretty good together. The great thing about the programme is that you don't need to be old in order to enjoy it ( although it helps ). Like a lot of Talking Pictures' TV's content, it is coming under fire from rabid haters of archive television, who think the junking of old programmes was a great idea.

Not all of us are interested in who gets voted out of the 'Big Brother' house, and 'Footage Detectives' is ideal Sunday afternoon viewing. I hope one day someone will unearth a clip of the late Victor Spinetti as 'The Mad Jaffa Cake Eater'.

The now-defunct Network Distributing released hundreds of films and television series on D. V. D., including some obscure offerings like 'The Corridor People' and 'Alcock And Gander'. But a series that eluded them was this short-lived Yorkshire Television sitcom, about a gang of builders working on a construction site who never seem to do much by way of work. Not unless you call playing cards and 'spending a penny' work. Their leader, 'Gussie Sissons', is played by Kenneth Connor. The boys' arch-enemy, site foreman 'Charlie Cattermole', is portrayed by John Junkin. Looking at this now, its hard not to be reminded of 'On The Buses'. Working-class lads at war with an authority figure with a moustache. It is as if Sid Colin, the show's writer, had seen Ronald Wolfe and Ronald Chesney's show ( it begun the year before ) and thought he could do better. He did not. In addition to those actors I've just mentioned, the show also has Gordon Rollings, John Normington ( whose 'Old Ned Spooner' character looks a lot like 'Uncle Mort' from 'I Didn't Know You Cared' ) and, later on, Derek Griffiths and future 'Confessions' star Robin Askwith. Tommy Godfrey was a busy man in the 70's; his other shows include 'Love Thy Neighbour' and 'Mind Your Language' ( both written by Vince Powell ).

Guest-stars include Milo O'Shea, Patrick Troughton ( as a Germanic scientist ) and Hermione Baddeley. So there was a good cast but the weak scripts sadly let them down. Connor was seen to much better comic effect in the 'Carry On' pictures, 'Hi-De-Hi!', and 'Allo, Allo!'.

Rubbish builders also featured in the much funnier 'Cowboys' made by Thames Television over a decade later.

The long-awaited sequel to the hit comedy movie 'National Lampoon's Animal House' finally appeared in 1982, and bombed. Originally entitled 'National Lampoon Goes To The Movies', it spoofed 'Kramer Vs. Kramer', glossy soap operas, and Joseph Wambaugh-type police dramas. With a director such as John Landis ( who made 'Animal House' ), it might have worked. Instead it got Henry Jaglom, whose forte was not comedy, and it sadly shows. He directed two segments, one of which was deleted from the finished film. Bob Giraldi handled the other two.

Some of the film is funny. Peter Riegert's character 'Jason Cooper' is so smug as to be unbelievable. He tries to bring up his children on his own, and has not a clue how to do so. He even starts a fire in his own kitchen. Then he has the bright idea of taking in unwanted plants. His house is suddenly full of the things, and he cannot find his children. In the next segment, Ann Dusenberry is good as a stripper named 'Dominique' who sleeps ( and kills ) her way to the top. The last segment features a great performance by Richard Widmark as a tired cop who ignores violent crime even when its happening right under his nose.

Shocking are the scenes featuring female nudity and an implied rape which would probably not be allowed now.

A mixed bag, then. No 'Kentucky Fried Movie' but no 'Carry On Columbus' either.

'Tony Mammoth' ( Mike Bubbins ) is a gym teacher who has been frozen since 1979 and has been thawed out in the 21st century. Unsurprisingly, he is baffled by everything he sees. It is hard to know where to start with this one. For one thing, Mammoth himself is very much a 21st century person's idea of what a 1979 man is like. A real person of that age would not be perplexed at the idea of British television having more than three channels; he'd be annoyed that the new ones all tend to be full of mindless garbage. Also, sexism, racism and homophobic attitudes are not exclusive to the 1970's; a quick trawl through the cesspit of hate that is social media will reveal that those unacceptable attitudes are still with us. The rebranding of Marathon chocolate as 'Snickers' would not be be much of a wrench to anyone who remembers the change-over to decimal currency. Mobile phones and home computers? People lived happily for years without those things. What you have never had, you don't miss. Mr. Bubbins cannot blame the writers for this farrago of nonsense; he wrote it and acted ( if that's the word ) in it. A failure twice over. This programme is nothing more than a feeble rehash of those annoying 'let's make fun of the past' shows that have been stinking up the airwaves for years now. It is time to say enough is enough and move on.

'The Flash' was not a hit when it opened in cinemas last year. Who cares? A good movie is a good movie whether it makes a dollar or a billion dollars. And 'The Flash' is a very good movie indeed. It gets across a reasonably complex time paradox plot in an engaging and humorous fashion, not unlike the 'Back To The Future' films ( which are referenced at one point ).

'Barry Allen' ( Ezra Miller ) has a laboratory accident that gives him the power to run at incredible speeds. He becomes 'The Flash'. Discovering he can travel backwards in time, he does just that, saving his mother's life. He inadvertently changes history, resulting in a world unable to defend itself from a future alien invasion. Miller's Allen is nothing the one many of us remember from the 1960's; if anything, he's more like 'Peter Parker' from Marvel's 'Spider-Man'. I thought he was good in the role. But the highpoint has to be the long-awaited return of Michael Keaton as 'Batman', a role he last played in 1992. It is as if he has never been away. We were cheated out of a third Keaton 'Batman' epic, but 'The Flash' goes some way to making up for it. An unexpected moment was the brief return of Christopher Reeve as 'Superman' ( the actor passed away some years ago ), meaning that in one single motion picture you have the best ever Batman and best ever Superman. And none of the stygian murk that blighted the Matt Reeves take on the character.

So a thumbs up from me from this massively underrated movie.

Bob Monkhouse and Alfred Marks play a couple of brothers who, enraged on finding out their Italian cousin 'Toni' ( the stunning Anna Karina ) has inherited their late aunt's fortune, set out either to marry or murder her. Marriage is out of the question; she does not fancy either of them, so they decide on murder. There then follows a string of unsuccessful murder attempts. Directed by Robert Asher, whose other credits include several Noman Wisdom movies and Morecambe and Wise's first picture 'The Intelligence Men', this benefits from the offbeat casting of Monkhouse ( cast against type as a snivelling coward ) and Marks, and is assisted by the presence of Hattie Jacques, Clive Dunn, Graham Stark, and Peter Butterworth. Asher fills the film with some strange visual touches, including a revolving fireplace, billiard balls that fly about like rockets, and an out of control boulder. There's even an animated flying saucer!

50's heart-throb Dennis Lotis plays 'Gilbert', the brothers' butler, and it doesn't take a genius to work out that the story will end with Toni running off with him to Corsica. Predictable yes, corny yes, but its a lot of fun and infinitely more watchable than any of today's movies such as 'Barbie' and 'Floppenheimer'.

This 'Comedy Playhouse' was based on a story called 'The General Dances At Dawn' by George Macdonald Fraser, author of the 'Flashman' books. It was adapted by David Climie, whose other credits include 'Wodehouse Playhouse' and 'Backs To The Land'. It is set in a British army regiment based in a Scottish castle. Among the privates is one 'McAuslan' ( the late Freddie Earlle ) and he is not only the dirtiest soldier in the world but also the most incompetent. Rather improbably, he is chosen to go on guard duty...

Earlle was a very funny man who, despite appearing in numerous shows of the period such as 'Yanks Go Home' and 'Clochmerle', never seemed to get the roles he deserved. The other cast members include Allan Cuthbertson, Moray Watson, Jack Watson, and John Standing. At first this looks as though its going to be centred around the character of McAuslan, but then, strangely, the narrative shifts to 'Lt. MacNeil' ( Standing ). During a military parade, MacNeil realises he has forgotten to put the buckle on his kilt, meaning it could fall down at any second. And with royalty present.

Funniest moment - MacNeil imagining his kilt going into free-fall, A sequence straight out of 'Billy Liar'.

Agreeable on the whole, but no series resulted.

Earlle worked with producer with Michael Mills again in 1979 on the ITV sitcom 'Room Service'.

This edition of 'Comedy Playhouse' starred John Le Mesurier, several years away from his signature role as 'Sgt. Wilson' in 'Dad's Army'. Here he plays 'Caleb Bullrush', a confidence trickster newly released from prison. His speciality is dressing up as a vicar and getting unsuspecting members of the public to donate to non-existent charities. In a pub one evening, he gets friendly with prostitute 'Rita' ( Yootha Joyce ) and takes her back to his hotel. Before they can get better acquainted, however, an unexpected crisis develops - a man ( Blake Butler ) is threatening to commit suicide by falling from a window ledge. Caleb is asked to try to talk the would-be suicide victim out of it...

This is amusing enough, but it is not hard to see why it was not developed into a series. Dick Emery later portrayed a crooked Vicar in his long-running show. 'Comedy Playhouse' took another crack at the subject of con men ten years later with 'Born Every Minute' which starred Ronald Fraser and - another 'Dad's Army' veteran - James Beck. Joyce was, of course, destined for sitcom immortality a decade later in 'Man about The House' and its follow-up 'George & Mildred'.

Funniest moment - Caleb tries to give the man on the window ledge a cup of tea, only to slip and fall in a fireman's net!

Galton and Simpson later wrote an episode of the ITV series 'Dawsons Weekly' with the title 'The Clerical Error; but it is not a remake.

Lastly, a quick mention of the sad passing of Ian Lavender, aka 'Private Pike' from 'Dad's Army'. The cast might be gone forever, but thankfully the show's repeats are still with us. "Don't tell him, Pike!".

Newlyweds Thomas and Susan Simpson are without a home of their own, and are staying with his Aunt Dorothy. There is a vacant flat in the building, but as only Susan has a job ( she's a social worker ) the question is can they afford to take it?

No sitcom of this period would be complete without a nosey neighbour ( usually played by Fanny Carby ), but here its the Irish actress Pauline Delany who gets to play the bird-like 'Mrs. Beasley'. The character lacks a sense of humour, making her ripe for sending up by Dorothy, who delivers some wonderful put-downs at her expense.

Both Thomas and Susan ask their parents if they can live with them, only to be turned down for fear of upsetting the neighbours. The Lamberts and the Simpsons might be of different race, but in terms of attitude they are almost identical.

Funniest moment - Mrs. Beasley asks Aunt Dorothy why there are so many people in her flat. "We are having an orgy!", replies the latter, "Care to join in?". Mrs. Beasley looks horrified.

It is difficult to see why 'Spooner's Patch' was granted a second season. The ratings could not have been all that great, particularly as the first series got interrupted by the ITV strike of 1979. Nevertheless, someone at ATV must have have liked it because back it came with a few noticeable cast changes. Dermot Kelly had sadly passed on, and Norman Rossington crossed over to the BBC to make the infinitely funnier 'Big Jim And The Figaro Club'. The biggest change though came with the role of 'Inspector Clarence Spooner'. Ronald Fraser was fired ( his alcoholism was getting out of control ) and in his place came Donald Churchill, known primarily as a writer ( he'd co-written the script for the 1971 war movie 'Zeppelin', starring Michael York and Elke Sommer ). Also in 1980, he'd starred in David Nobbs' underrated 'The Sun Trap' about British expats living in Spain. While he did not splutter quite so repulsively as his predecessor, he turned in a performance that won him few fans. 'Det. Con Bolsover' ( Peter Cleall ) was still around, but his enthusiasm for 'Starsky & Hutch' seems to have vanished. John Lyons' P. C. Killick' also remained at his desk. A new addition to the cast was Patricia Hayes as traffic warden 'Mrs. Cantaford'. She'd appeared in the first series but as a different character. Cantaford is not at all that far removed from 'Min', her role in 'Till Death Us Do Part' ( both have a husband by the name of Bert ). She delivers several Alf Garnett-style monologues that are out of step with the slapstick tone of the show.

This episode has Spooner panicking because a man he helped put behind bars - 'Webster' - has been released and wants revenge, particularly as the Inspector has also been dating his wife ( Lynn Farleigh, who played 'Marcia' in the 'Steptoe & Son' classic 'And So To Bed' ), With his friends deserting him, Spooner must deal with Webster all on his own. It is, of course, a parody of the famous Western 'High Noon'. Robin Tripp found himself in a similar predicament in the 'Man About The House' episode 'Colour Me Yellow'.

Despite the cast changes, no real improvement occurred.

Funniest moment - Webster arriving at Woodley police station to find Spooner heavily disguised. Then Mrs Cantaford walks in and addresses Spooner by name.

The first episode of Ray Galton's and Johnny Speight's sitcom set in a corrupt police station in the fictional London suburb of Woodley.

Aghast that someone has painted graffiti on the sign outside the police station, Inspector Spooner ( the late Ronald Fraser ) asks Irish vagrant 'Kelly' ( Dermot Kelly ) to paint out the offending words. As he does this, the fascistic P. C. Goatman ( the late Norman Rossington ) shows up for duty and thinks Kelly is responsible for the daub, so he throws him into a cell and disposes of the key. Unfortunately, that is also the place where Spooner keeps his collection of rare wines. Kelly has a field day opening the bottles ( using the corkscrew on his penknife ) and drinking the contents. So how is Spooner going to save his precious wine?

The untransmitted pilot episode starred Scottish actor Ian Bannen as Spooner. I do not know why he did not do the series. It is tempting to think he may have realised the show was not going to be any good and jumped ship. The pilot also featured Sally Geeson ( of 'Bless This House' fame ) as a P. C. and she did not make it into the series either. This episode is not bad, its funny in places. Peter Cleall ( of 'Please Sir!' ) plays 'P. C. Bolsover' who has seen too many episodes of 'Starsky & Hutch' and drives a similar car ( which he then crashes ). As Spooner, Ronald Fraser gives a performance he could hardly have been proud of, constantly spluttering over the cast members ( you wonder why they weren't wearing glasses fitted with windshield wipers ). Rossington is good as 'Goatman;, a cop whose solution to the U. K. crime problem is to give all criminals a good hiding. Dermot Kelly appeared in 'The Arthur Haynes Show', also penned by Speight.

Funniest moment - Goatman putting his arm into the cell in an attempt to strangle Kelly. When he brings it out, he has Kelly's dentures affixed to it.

'Mr. Bates Vs. The Post Office' tells the true story of the biggest miscarriage of justice in British legal history. I followed the story on the news as it happened, and thought I was well acquainted with the facts, but the series still managed to shock. I have been involved in the past with major IT changes, and anomalies that show up have to be investigated and resolved. Pushing the blame for financial shortfalls onto people who have run their Post Offices successfully for years is astonishing. There are people in the organisation who who must have known there was not a sudden rush of fraudulent behaviour and that the IT ( Horizon ) was at fault. But they have not been punished which is another scandal. This series has none of the usual faults inherent in 21st century television drama ( actors mumbling their lines, intrusive background music, liberties taken with facts ) and the acting ( Toby Jones and Monica Dolan ) is first-rate. Let us hope that nothing like this scandal ever happens again. Computers, like people, can make mistakes.

A few years ago, an ITV programme about black entertainers ( narrated by Craig Charles ) lumped in the sitcom 'Mixed Blessings' with the likes of 'Love Thy Neighbour' as an example of 'unacceptable' racist comedy. Which was strange. Back in the day ( 1978 - 1980 ), Sid Green's sitcom earned praise for dealing with the race issue in a more subtle way than had been the case with Vince Powell and Harry Driver's show. There was no name calling, for one thing. 'Thomas Simpson' ( the late Christopher Blake ) marries 'Susan Lambert' ( the late Muriel Odunton ). He is white and she is black. How to explain this to their parents?

Edward and Annie Simpson ( George Waring and Sylvia Kay ) are not happy with the situation, but we are spared any bad-tempered fireworks. Luckily, Thomas' aunt 'Dorothy' ( Joan Sanderson ) is fairly liberal-minded, and soon things settle down. Edward tells Susan "if Tom loves you, then we love you too!". His comment earns him a kiss. Next up is a visit to Susan's parents - 'William and Matilda' ( Carmen Munroe and Stefan Kalipha ) are they are equally aghast at the thought of their children entering into a mixed marriage.

Gregory Munro, who plays 'Winston', Susan's brother, was the real-life son of Carmen Munroe ( although he spelt his surname differently ).

Sid Green's script is funny, the cast are good and the show was sold to The West Indies. I can only assume its inclusion in the ITV programme about black entertainers was down to lazy journalism. No-one was offended by it at the time and I cannot imagine anyone being offended by it now. Not unless they want to be.

Funniest moment - the Simpson and Lambert families are introduced to each other. Realising they are unintentionally segregated, they change positions, and become segregated a second time!

'Coogan's Run' was a 1995 series of one-off comedies starring Steve Coogan as various characters. In 'Dearth Of a Salesman';, he plays 'Gareth Cheeseman', a big-headed executive who attends a conference at a posh hotel. He is there to make a speech promoting his company's newest product - a sound card. He winds up annoying practically everyone he meets, and lives in fear that someone might vandalize or steal his company car. An encounter with a prostitute ( Gaynor Faye ) goes horribly wrong; she gets him drunk, paints clown make-up on his face, steals his wallet and leaves. Amazingly, Cheeseman finds a buyer, one 'Douglas Crown' ( the late John Shrapnel ). But before contracts can be signed, the man's son dies unexpectedly and the deal breaks down.

Cheeseman is a strong comic character ( it is hard not to be reminded of 'Ralph Tanner', played by Richard Briers in 'The Other One' ), but he was unfortunately overshadowed by another Coogan creation - Alan Partridge. Coogan appears briefly as 'Pauline Calf'. Graham Linehan and Arthur Mathews' funny script has none of the surrealism of their 'Father Ted' series.

Funniest moment - Cheeseman celebrates his deal by committing onanism, only to be caught in the act by a chambermaid.

1974's 'The Big Job' was a 'Comedy Playhouse' episode written by and starring the late Peter Jones. He played 'Eddie', the leader of a gang of useless thieves. The others were 'Dolly' ( Prunella Scales ), 'Ginger' ( Nick Brimble ) and 'Norma' ( Andonia Katsaros ). Thy live in a dilapidated house in London.

Eddie is small-time but dreams of being big time. He dreams up new criminal schemes ( with the aid of toy cars ) but they usually come to nothing. In this instalment, he decides to kidnap and hold to ransom the rich Lord Maybrick. He gets the wrong man and instead winds up with his pompous butler, 'Grimes' ( Aubrey Woods ). Grimes urges Doily to ditch Eddie and team up with him, but she decides to stay where she is.

'The Big Job' is not too far removed from the 1965 Sid James movie of the same time. It has its moments, but Jones should have brought in a co-writer. For the resulting series, entitled 'Mr. Big', he did jus that. Christopher Bond got the job, and the resulting show lasted two years.

The roles of 'Ginger' and 'Norma' would be recast for the series, with Ian Lavender and Carol Hawkins replacing Brimble and Katsaros. Their characters are said to be brother and sister and yet they are often seen in bed together. Possibly the term 'sister' was one of endearment. Alfred Marks is seen briefly as a well-organised crook who keeps records of all his crimes.

Funniest moment - Dolly entering the house carrying two heavy-looking bags. Has she been shopping? No. Shoplifting!

Episode three opens with the 'Fawlty Towers' titles, followed by John Cleese ( as himself ) telling someone on the phone that the hit series is finally over. He then suggests a 'tatty revue' take its place. This was not Cleese's only cameo this year. He also appeared in Tom Baker's 'Doctor Who' as a snobby art critic. Among the sketches is 'National Launderette Week' ( as Chris Langham explains what it entails his eyes swivel round and round as though they are studying a washing machine in its spin cycle ), a gory item about a hospital organs department ( run by Mel Smith ), Langham as the world's first pregnant man, a send-up of the problematic arts show 'Maelstrom', and 'The Restricted Practices Suite', in which a group of people play a piano one key at a time. Griff Rhys Jones appears as a man trying to enter a posh restaurant wearing nothing but a tie.

Funniest moment - the Jimmy Carter campaign ad, Back in the day, the former peanut farmer was regarded as a joke ( little did we know how much worse his successors would be ).