Yet, just as those pre-Covid filmed scenes of characters hugging or handshaking seem somewhat unnatural to us now, it is remarkably comforting to see people living under the same virtual conditions as we are now, all whilst making it funny. The show breezily demonstrates the wearing nature of lockdown and the characters don’t hide from the uncertainty and claustrophobia it brings. Yet for the simplicity of its concept and its set-up, they also bring moments of comic absurdity. The second season bounces between long-running jokes from the first and introduces playful new topics of conversation. With episodes only around the 15 minute mark, they provide the perfect light interlude to be chucked on between your own endless video call schedule.

Crucially, these are portrayed not as the result of harsh resolutions or overnight transformations, but as the product of slowly drawn out shifts brought about by their interactions with those around them.
These positive changes are nurtured not forced and are presented with a subtle pace contrary to the typical Hollywood drive for instant gratification.

Indeed, part of the joy of Schitt’s Creek is the satisfaction you get from finishing and then looking back to where it started; with people who were not very nice but who had the chance to start afresh.

As 2020 continues to crumble around us, I can recommend no greater remedy to this exhausting year than settling in for the night with an episode – or if you’re really in need, the whole season – of Mortimer and Whitehouse: Gone Fishing. It is the ultimate television show to help you forget about all the craziness happening in the world. You can simply submerge yourself in the beautiful scenery and the delightful natterings of two blokes gone fishing. At a cursory glance, you may not expect that

The Great Pottery Throwdown is, with its playful filth and flair, the very best of British television. It is unrelentlessly joyful, a triumph of quaint skill and beauty, and a simple celebration in the delight of hobbies. The show’s format derives straight from the giants of GBBO, but whereas the smells and taste of baked goods are trapped by television, pottery makes the perfect on screen subject.

Contestants face an elaborate, self-styled main make and an intricate technical challenge, which