Is Steptoe and Son the platonic ideal of the British sitcom? Two men trapped in eternal stasis, imprisoned by class and bound together by family ties as if by hoops of steel, never to escape: it’s what half-hour comedy should be. Posterity would seem to agree, because since the sitcom ended in 1974 the two rag and bone men have never been out of work, appearing in the cinema, on stage and radio. For 30 years they made and reran the show on Swedish television, underpinning the widely held theory that Steptoe is but a step from Strindberg.

In one of the great US sitcoms, Seinfeld, the mantra of the show's producers was "no hugging, no learning". Well, Parks and Recreation - which may end up occupying a similarly lofty place in comedy history - takes the opposite tack. Warm and wonderfully witty with characters and relationships that actually evolve, Greg Daniels and Michael Schur's sitcom also features TV's finest comedy ensemble. This perky, award-winning comedy has taken an absolute age to reach us, considering it debuted in the US in 2009 (where the fifth season has already aired).

Compile a list of the subjects you thought may be unsuitable for a sitcom, and it will almost certainly include a person with learning difficulties, assisted suicide and an army bomb disposal team.

There are oodles of comedy DVDs released for the Christmas market - here's a selection of the best.

Dara Ó Bríain
Craic Dealer

Somebody has missed a trick in not promoting Getting On to BBC Two. Where The Thick of It earned its spurs on BBC Four before graduating to a larger audience, and Gavin and Stacey made the comparable journey from BBC Three to BBC One, the sitcom set in an NHS hospital has not qualified for a transfer. It’s a great pity that it has not found a wider audience, because last night’s conclusion to the third series was a masterpiece of subtle revelation and, rarer still for a sitcom, deep humanity.

While it’s not unusual for an imported television show to have been downloaded, discussed and dissected at length long in advance of of its UK transmission date, HBO’s Girls is even harder than most to approach with an open mind. Depending on which publications you read, you may already be aware that the show is many things: racist, classist, realistic, unrealistic, hilarious, overrated, written by one of the best and brightest young female writers, written by an overprivileged egomaniac.

Getting On exists somewhere on the spectrum between Carry On and Samuel Beckett. Set in a hospital ward where mostly geriatric patients are tended by middle-aged staff all with problems of their own, it looks unflinchingly at the great maladjusted edifice that is the Health Service and all who ail in her. And in Vicki Pepperdine’s tightly coiled consultant Dr Pippa Moore it has perhaps the most delightful sitcom grotesque since Malcolm Tucker first started turning the air blue.

It's always either a very good or a very bad sign when my notebook remains untainted by my scrawl when I'm reviewing; either I am too busy enjoying myself to make notes or I'm so unengaged that I can barely be bothered to lift my pen.

There's a great PhD to be written about why comics are so keen to dress as old biddies, from Arthur Lucan and Benny Hill to Dick Emery and Les Dawson, by way of any number of panto dames to the most noble of them all, Dame Edna Everage. To this esteemed list of comics should be added Brendan O'Carroll, whose Agnes Brown is an astonishing creation, a foul-mouthed Dublin widow whose passions in life are bingo and poking her nose into her children's lives.