Two birthday parties kept me away from the Albert Hall yesterday (though I'll confess that in the end I treacherously skipped the second and stayed glued to the TV's delayed relay). That, and a slight fear that the concert performance of Wagner's Die Meistersinger von Nürnberg from the BBC Proms couldn't match up to the original Welsh National Opera production of the decade.

JasperRees Not long now till @SweetingAdam and I start tweeting our live Friday Night @Wossy review here. 10.35 sharp.

SweetingAdam @JasperRees you could cut the atmosphere with a rolling pin

JasperRees I won't miss those bubbles. Or that music. It's sort of a bit rubbish

JasperRees BTW We are now reviewing Friday Night with Jonathan Ross, live on Twitter. He's said he's not going to cry

JasperRees Are you there, @SweetingAdam? I'm doing this on my tod. (My daughter: 'Are they all gay?' She's 17)

SweetingAdam Are the 4 Poofs employable in a post-Woss world?

JasperRees I believe they charge a mint for personal appearances. No doubt they're upping sticks for ITV1 too.

JasperRees Not long now till @SweetingAdam and I start tweeting our live Friday Night @Wossy review here. 10.35 sharp.

SweetingAdam @JasperRees you could cut the atmosphere with a rolling pin

JasperRees I won't miss those bubbles. Or that music. It's sort of a bit rubbish

JasperRees BTW We are now reviewing Friday Night with Jonathan Ross, live on Twitter. He's said he's not going to cry

JasperRees Are you there, @SweetingAdam? I'm doing this on my tod. (My daughter: 'Are they all gay?' She's 17)

SweetingAdam Are the 4 Poofs employable in a post-Woss world?

JasperRees I believe they charge a mint for personal appearances. No doubt they're upping sticks for ITV1 too.

There was a gnawing suspicion that The Silence wouldn’t amount to much, since it was dumped in a four-night splurge in the middle of the mid-summer doldrums, and even the normally docile Radio Times had decided to stamp its foot and pick holes in it. One’s apprehension proved ill-founded, however. It turned out to be taut, tense, well acted and smartly written, and carried enough pace to lift it over the more credulity-stretching passages.

So was it nice to see him (to see him nice)? Actually nice is probably the wrong word for Bruce Forsyth on the evidence of the opening documentary in a new series of Cutting Edge – tetchy, obsessive in his habits and (as we shall see) sometimes downright unpleasant, may be nearer the mark, as director David Nath gains access to Forsyth’s two palatial homes (both on the edge of golf courses, it almost goes without saying) in Wentworth, Surrey, and Puerto Rico.

If you know David Mitchell and Robert Webb from Peep Show on Channel 4 (written by Jesse Armstrong and Sam Bain), in which Mitchell plays the insufferably self-important Mark and Webb the self-deluding idiot Jeremy, then you will easily recognise similar stock types being used in That Mitchell and Webb Look on BBC Two, which goes to show you should never mess with a winning formula.

As an 11-year-old boy, I was awestruck from the first moment I saw Concorde on our three-channel black-and-white television, seemingly rearing up from its runway like a cyborg swan. At that age - and during that era - fact and fiction became vertiginously blurred when it concerned the fast-forward march of science and technology. While Factual-man was taking one slow-motion giant leap for mankind, Fictional-man was going where no man had gone before.

Great comedy may be timeless, but that's probably because of the great comedians performing it as much as the material itself. Could you imagine Dad's Army being anything more than a shadow of its former self if it was remade with a new cast? Would Frasier achieve the same transcendent mix of bourgeois self-regard and millisecond farcical timing with James Corden and Mathew Horne in place of  Kelsey Grammer and David Hyde Pierce? Do we want to hear anybody reciting the "Dead Parrot Sketch" ever again?

The BBC just can't stop showing that flipping Lennon Naked drama. No sooner have we emerged from the Fatherhood Season, where it first appeared, than we're into a John Lennon Night on BBC Four, featuring Lennon Naked again under a new temporary flag of convenience.

Dominic Savage’s new two-part film, part of BBC Two’s renewed commitment to intelligent and challenging drama (we shall see; fewer biopics please), comes billed as a look at modern teenage life, although it seemed more drawn to long silences - or the sound of the wind in the trees - and the seemingly desolate land and seascapes of the Lincolnshire coast. Your eyes kept being drawn to the edge of the screen, away from the young protagonists, Lindsey and Robert, which I suppose was meant to lend Dive a fatalistic edge, or a sense of universality.