ARRESTED DEVELOPMENT
If you saw this on BBC2 then you were doing well – another victim of Seinfield-esque shunting through the late night schedule. What most people thus missed was a pin-sharp, multi-layered character-based examination of just how hard families can be. Jason Bateman’s put-upon Michael has to hold his selfish clan together after his crooked dad goes to prison. Clichés are turned on their heads, there’s irony in abundance and so many hidden jokes you could watch it forever. And that sarky voiceover? That’s film director Ron Howard, uncredited. It was cancelled after three seasons, obviously. (JK)
CURB YOUR ENTHUSIASM
Having co-created US mega-hit Seinfeld, syndicated all over the world and a licence to print money forever, Larry David was a man of leisure. Loafing about the place kicking his heels, getting on people’s nerves and flaunting a singular outlook on life that won him few friends – what better premise for an eight-and-counting-season sit-com? Improvised and naturalistic scripts bring this comedy of discomfort a horribly real edge, with end-credit twists that will take the whole episode to set up. Watch through your fingers. (NC)
THE MIGHTY BOOSH
Coming from successful stage shows (directed by Stewart Lee) and a radio series (produced by Danny Wallace), Noel Fielding and Julian Barratt’s tripped-out sit-com really hit the ground running. Part of its success is that it’s a complete world that never gives itself a double take. A best mate who’s a gorilla? Obviously. A crack fox? Why not. Crimping? Sure. As much as the whole thing seems like just twatting about, it’s a completely believable world. It’s obtuse yet has great one-liners; clever at the same time as being very, very stupid; cool and rather uncool. Will it ever return? (JK)
THE OFFICE
Widely regarded as a game changer in the world of sit-com, Ricky Gervais and Stephen Merchant’s creation ran for just two series here in the UK, but was taken up by HBO in the States who converted the existing episodes and then went on to make their own. Both David Brent and Michael Scott in the lead roles make for uneasy viewing as they manage their paper empires without a shred of self-awareness or genuine compassion. Everyone’s seen Gervais’ amusing dance, but the US version deserves investigation. (NC)
SUMMER HEIGHTS HIGH
The mockumentary format has really dominated this century’s best comedy but Chris Lilley – an Australian! – really gave things a twist by performing the three main SHH characters himself. Despite being played by a man in his 30s, selfish, arrogant Ja’mie is perhaps the best portrayal of a schoolgirl ever. At his best when exploring deeply unappealing characters (Mr G’s narcissistic drama teacher, disruptive teen Jonah), it’s surprising how quickly the parlour trick takes a backseat to the brutal comedy, especially when Mr G devises a musical based on the death of one of his pupils. (JK)
PEEP SHOW
Mitchell and Webb are masters of their own sketch comedy, but it’s in this elsewhere-scripted series that they’re truly in their element. Student roommates whose flatshare strays ill-advisedly into the post-uni world of work and work avoidance, Mark and Jeremy nail down the Steptoe character disciplines of mutual loathing and need. POV camerawork and some devastatingly honest inner voice portrayal opens up a window into the minds of 30-something men and reveal that life is, on the whole, a bit shit. (NC)
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WORDS BY NICK COQUET, JAMES KENDALL
