Spike Milligan's "Q" series was certainly ground-breaking. His Goon Show on radio, more than a decade earlier, was very innovate, extremely funny (except for some patches where Spike was stressed and lacked the support in writing or production that he needed), and suitable for all the family (well, the bits that weren't were w-a-y over the heads of the kiddies). But Q5 went further - further than Goon Shows, further than other other television comedy anywhere in the world at that time, and further even than Monty Python in pure silliness. As a result, it went nowhere nearly as far in wide appeal nor, it has to be said, in fun. But not all comedy is fun or funny or pleasant. Spike knows black, absurd comedy, and being pleasant is not what it's about.One gift Spike had was to see life as it is, and not just ask "why are people like that?" and poke fun at them - as satire does - but to imagine what life would be like with some changes. Often those changes involve people acting or talking the way we might find ourselves thinking at times - we laugh at the outlandish scenarios, but we are really laughing at our innermost thoughts and reaffirming life the way it is, the civilized way we choose to maintain it. Sometimes the story involves something so "wrong", like the idea of a Dalek married, coming home from work, and we must extend our minds long enough to think about the possibilities, setting aside the incongruities, until we again find ourselves laughing at what is wrong with the idea, and subconsciously understanding normal married life (and curries) a little more.Q isn't always rude, but it sometimes is; be warned. Like some other comedians who use crudity, it can seem that (for example) racist comments, or denigration of women is promoted by the scripts; rather the opposite is true: those who do this are ridiculed, but it remains an unpleasant experience on many counts, for many types of viewer. Although funny in many places, this is primarily art, and a form where the viewer may suffer for the art more than the artist.

The line between genius and madness is a fine one, and no individual epitomised these extremes more effectively than Spike Milligan. The 'Monty Python' team freely admit drawing inspiration from his shows. I never saw 'Q5' alas, but the later series - beginning with 'Q6' - were a mixture of the brilliant and banal. Like the Pythons, if Milligan tired of a sketch he'd cut it short. False noses and boot polished faces cropped up a lot. Then there was the well-endowed Julia Breck, whom Spike delighted in undressing on air. Spike himself never seemed to be able to get through a sketch without giggling. Amongst the highlights were a spoof 'The World About Us' about the 'Cock-a-knees' ( Cockneys ), the 'Good Samaritan' read from a pulpit by a police officer, the infamous Pakistani Dalek sketch, 'The First Irishman In Space', 'The Smallest Police Station In The World' and Adolf Hitler doing a George Formby impression. You had to love Spike to love the show - and I did.

Although it is now showing its age and can, in places, offend the 'right on' and politically correct factions, Milligans 'Q' series is a work of twisted, surreal, lunatic genius. On television, nothing that came before it and very little that followed has had the same impact.Although Spike Milligan can be something of an acquired taste it is well worth checking out if you get the chance. Bursting with energy, full of wild characters, bizarre situations and wonderfully understated in-jokes, and of course Milligans ad-libs and fits of giggles 'Q' should be essential viewing for any fan of comedy, if only for an insight in the uniqueness of certain aspects of British humour.

A tragically overlooked series that broke all the rules of standard comedy and opened the flood gates to a wave of new anarchic TV comics. All too often are Monty Python hailed as the creators of anarchic, surreal comedy on television. This is not the case. There is no doubting that Monty Python's Flying Circus contributed some of the finest sketches in the genre, but they were pipped to the post by the grand master of comedy, Spike Milligan. While Milligan's stream of consciousness style proved to be far more hit and miss than Python's organised comic offerings, that only added to the shows raw energy. Spike Milligan was a true surrealist and amazingly funny. Some of the material did fall flat and was sometimes charmlessly corny, but this is because we are viewing a show that knows no bounds and is aimlessly sprawling through locations and ideas at a far greater rate than Python's overly structured shows could ever concieve of doing. It is doubtful the Q... series will ever be recognised for its worth by the masses. I strongly recommend you find a tape of this series and see just how great it was. And if that doesn't convince you, listen to a tape of the legendary Goon Shows also written by Milligan. A radio series that went further and funnier than Python ever could almost twenty years before them!