What is it about British comedy?

British comedy comes in all shapes and sizes:

The good (Phoenix Nights, Big Train, Porridge), the bad (Hyperdrive, Gimmie Gimmie Gimmie, My Hero), the satirical (Spitting Image, The Day Today, That Was the Week That Was), the influential (Morecambe & Wise, Not the Nine O'Clock News, Monty Python), the overrated (Little Britain, That Mitchell & Webb Look, ), the politically driven (Brass Eye, Yes Prime Minister, Citizen Smith), the dark (League of Gentlemen, Nighty Night, The Mighty Boosh), the camp (Are you being served?, The High Life, The Thin Blue Line), those influenced by warfare (It Ain't Half Hot Mum, Dad's Army, 'Allo, 'Allo), the cult (Peep Show, Red Dwarf, Spaced), those influenced by laddism (Men Behaving Badly, Fantasy Football, Game On), the stereotype challenging (Goodness Gracious Me, The Ali G Show), the middle of the road (My Family, Last of the Summer Wine, Vicar of Dibley) and the timeless (Only Fools & Horses, Fawlty Towers, The Young Ones).

Of course, I simplify. But the above snapshot alone shows the variety and extremes to which British comedy goes to try to make us laugh. But the comedies I love, those which I'd have given my left arm to have written or been associated with, are the ones with a little something extra.

Those that raised the bar for example. Think about The Royle Family, which turned the sitcom format on its head. Rarely moving beyond a typical northern living room, Jim Royle and family presented us with a realistic 2.4 family and assured us that there was life beyond middle England which was witty, thoughtful and emotional to boot. Love or hate Ricky Gervais, The Office took UK comedy to a whole new level again, with the most perfect casting (no one else in the world could play Gareth like McKenzie Crook and the Dawn/Tim/Lee triangle played out perfectly), timing and cringeworthy dialogue. Extras was also great and cemented Gervais and Merchant as the best writer/directors and actors in the business today. Other format-rejuvenators include Big Train, which freshened up the post-Fast Show sketch shows, Peep Show, the Men Behaving Badly of the naughties, and Gavin & Stacy, which just, well, works.

Then there are those comedies driven by superb and compelling performances. Fawlty Towers - a vehicle for Cleese's unquestionable talents - speaks for itself. Others that spring to mind are Nighty Night (Julia Davis), The League of Gentlemen in their many guises, I'm Alan Partridge (Steve Coogan), Porridge (Ronnie Barker), Peep Show (David Mitchell & Robert Webb), Python (the whole cast), Harry Enfield & Chums (Harry Enfield, Paul Whitehouse, Kathy Burke) and Phoenix Nights (Peter Kay).

Then there are those all round great comedies written to perfection - Blackadder being the most obvious example.

This blog will take a random, sporadic look at what makes British comedies good or bad, review new comedies and reminisce about old ones. Please join in! And just to get us in the mood...

Max shows off his new car alarm in Phoenix Nights