It's just a feeling, but I've always thought that most of Arthur Askey's detractors are probably woefully unfamiliar with his work. Askey's top-billing is often misleading, he is only a component, the pretty girls and dashing men are just as important; arguably AA needs them more than they need him - they could find work anywhere, but his man-child wouldn't be funny without them to play against. His willingness to work with artistes of equal talent shows both a confidence in his own abilities and an awareness of his limitations. With the exception of The Ghost Train, Askey's films fall into two categories: half-forgotten and forgotten, Bees in Paradise landing firmly and unfairly into the latter. It's tightly written, wonderfully played and has some charming songs; despite it's obscurity, if you've never seen an Askey picture, it could well be the one to start with. But be warned, you may find yourself less cynical and more alive afterwards.
I'm a huge fan of Red Dwarf, but have always been oddly suspicious of other people who are. I can't say why with any certainty. If I meet a fellow X Files fan, I'll happily declare myself and chat an afternoon away. If I meet another Red Dwarf fan, I won't say a word. Red Dwarf, just by existing, makes a lifetime of underachievement much easier to deal with and has always made me feel a lot less alone. Only the most blinkered would claim that it has never lost it's way, but only the most unreasonable wouldn't accept that these instances are brief. But it's the frequent flashes of dazzling brilliance that allows the occasional heavy handedness to be forgiven. It is with some reluctance that I admit to identifying with Rimmer, when everything suggests it should be Lister. But the best comedy teaches, without you being aware it does.