Graham Kibble-White

Despite the shortcomings in the plot, Auf Wiedersehen, Pet has been the best "new" British drama on TV this year. Its return, whilst critically not quite living up to its previous two series, has still been very welcome indeed.

Most of all the programme was lacking in pace. With an atmosphere stilted and shorn of any sense of improvisation, this tribute felt more like a script read-through. Ironically if the lads had been less reverential to the source and allowed more of their own ebullience to shine through the whole thing could have been far more successful.

With TV Go Home, E4 are leading the pack and establishing new trends again. Just as it's become a cliché to say that a television adaptation rarely transcends the source text, E4 are establishing a whole new standard - "It's not as good as the website".

Yet, considering it's still early days for the series, episode one of Bob and Rose is little short of a marvel. It's utterly mainstream but quietly subversive in the assumptions Russell T Davies makes.

In the final analysis, this obviously wasn't the best episode of One Foot In The Grave ever - nor even of this series. But how can we really be well disposed towards the episode that ends it all anyway? With a macabre final twist (cf Jonathan Creek again) and a very affecting pastoral shot over the end credits, this was still superior stuff.

However, we shouldn't be too churlish about Harry Enfield's Brand Spanking New Show. The fact that Sky One are now originating a fair amount of original material is something to be celebrated. It is a shame, of course, that with Enfield we're getting more of the same.

Unlike the doomed Sessions, to whom we were almost compelled to feel indebted, Baddiel and Skinner make us feel as though we are their contemporaries. This isn't a performance we're watching, it's a happening (albeit a low-key happening) that we're part of.

Over six enjoyable episodes it's only really now that Messrs. Higson, Reeves and Mortimer have finally laid to rest the ghosts of the past, and it could be argued that they leave R&H(D) stronger than when they found it. Its continuation is a must.

In an evening where Jim Davidson sings Boyzone (cf. The Generation Game) Jonathan Creek is something of a peculiarity - an imaginative, quirky, witty piece which successfully targets the family audience without gunging them.