Chris Morris (I)

The deterioration of Channel 4's comedy output is indicative of an overall slide in standards at C4, a sorry state of affairs that its Funny Fortnight season inadvertently illustrates. Boasting over 30 hours of new pilots, one-off specials and numerous repeats of former glories, it does at least offer some glimmers of hope, while at the same time neatly encapsulating everything that's wrong with C4 these days.

The worst offender by far is I'm Spazticus, a jaw-droppingly witless and misconceived hidden prank show in which disabled performers humiliate able-bodied members of the public.

Its title - taken from an Ian Dury protest song, but shorn of its original context for maximum shock value - is the least offensive thing about this disaster. What point is it trying to make exactly? That disabled people can be involved in woefully uninspired prank shows too, especially ones that define them solely by their disability? Wow, what a heartening message. Or, seeing as its flustered 'victims' are well-meaning innocents, is it saying that able-bodied people will go out of their way to help disabled people no matter how absurd the situation? Well, that's good isn't it?

Only one prank - a spoof vox pop in which members of the public are asked to choose which disability they'd least like to have - could reasonably be taken as pointed satire, although all it really proves is that dim people will partake in any old crock if there's a camera involved. But hasn't Chris Morris already made that point, albeit in a more imaginative way?

This is what C4, hosts of the 2012 Paralympics, regards as inclusiveness: a comedy show starring disabled people in which they're reduced to comedy props. The producers would doubtless pull a Gervais - an unfortunate phrase, but let's not dwell - and argue that it isn't problematic as they're willing participants and in on the joke. But all that proves is that some disabled actors are as desperate for work as able-bodied ones.

Actually, maybe that's the hidden genius of I'm Spazticus. Maybe it's a cleverly subversive comment on how Channel 4 will exploit anyone for profit, whatever their physical ability. And that, when you think about it, actually makes them the most trailblazing equal-opportunities employer in television. All hail C4, defender 
of minorities!

'Brass Eye': Tube Talk Gold

It's incredible to think that Chris Morris's news satire Brass Eye is 15 years old. We now live in a world of 24-hour news broadcasting, Twitter-mania and Sky-copters following even the faintest whiff of a scandal from the air. But despite this, Morris's lampooning of media hysteria and the celebrities who are happy to exploit it for their own gain feels just as perfect and pin-point accurate today as it did in 1997.

Black Pond review

Funny and surprisingly moving, this languidly surreal comedy cross-fertilises Mike Leigh and Chris Morris. It also rehabilitates the wonderfully lugubrious Langham's career.

Matt Berry: 'replacing Chris Morris was daunting'

Matt Berry has admitted that it was a daunting prospect to replace Chris Morris in The IT Crowd.

He would hate the term but Chris Morris is a 'national treasure'. From The Day Today to Brass Eye, the spiky satirist has created comedy that is ferocious, fearless, unique and still quintessentially British. His debut movie as writer/director is no different - a brilliantly judged farce about four hapless jihadists from Sheffield attempting to commit an act of terror, it somehow manages to be both cutting and charming. Nigel Lindsay's Barry is the pick of the hilarious quartet.

Robert Webb: 'I auditioned for Nathan Barley'

Robert Webb has revealed that he auditioned for Chris Morris and Charlie Brooker's 2005 sitcom Nathan Barley.

It was the comic genius of Chris Morris and Armando Iannucci that was celebrated in six programmes on Radio 4 Extra commemorating the 20th anniversary of On the Hour, one of the sharpest comedies to satirise our love affair with the news media. I can hardly believe it's two decades since we heard Steve Coogan in his first incarnation as Alan Partridge and Chris Morris uttering surreal headlines with Paxmanesque urgency. "Cream is good for you if you're left-handed, according to a survey in 'Which Survey' magazine!" But the big surprise, especially given the gnat's attention span of the broadcast media, was how nothing had really dated. All the pomposities and absurdities were recognisable. Then, as now, there is much pleasure to be had from regional programme running orders. "Hopping lessons for Tim the amputee badger, and later, how news of the 17,000-megaton warhead that blew up France affects plans for a cycle path in Tarrogate city centre!"

It may be, in the age of social media and fragmenting news sources that our love affair with news will diminish. Our information addiction will perhaps, decline. So far, thankfully, there's no sign of it, but will future comedians ever tackle it so brilliantly?

Box set club: Nathan Barley

Charlie Brooker and Chris Morris's excellent sitcom isn't quite the museum piece you'd imagine - it's well futile.

Totally Tom, like much of Comedy Lab's recent output, seems hamstrung by the long-running series' remit. Experimental comedy is far more difficult than it looks, clearly, and this paint-by-numbers approach - dark, glitchy visuals reminiscent of Chris Morris' Jam, ill-considered stabs at edgy subject matter - fails to hit the spot. The Tom of the title refers to a duo, Tom Palmer and ]Tom Stourton, who inhabit a collection of wildly diffuse characters, including a pair of cocaine-addled It Girls and a vacuous T4 presenter. Both are clearly talented performers, but there's little here that surprises or breaks new ground.

The best lines from Four Lions

People will be asking you what you want for Christmas soon. Chris Morris's movie Four Lions is a stroke of comedy genius. We suggest this.