nominated for the Best TV Sitcom prize at the 2014 Freesat Awards, the Broadcast Award for Best Original Programme, and at the 2014 British Comedy Awards for both the Best New Comedy Programme and the Best Comedy Drama. In the Comedy.co.uk Awards it was voted "Best TV Comedy Drama" in 2014, 2015, 2016, and 2017, and was named "Comedy of the Year" in 2017 and 2018. The series has received three nominations at the British Academy Television Awards. In 2019, Pemberton won Best Male Comedy Performance. In 2021, Shearsmith was nominated for the same award and the show won Best Scripted Comedy. The scripts of the first three series were released by Hodder & Stoughton in 2020, with scripts of the following three series released in 2022. A book detailing the production history of Series 1 to 5, The Insider's Guide To Inside No. 9 by Mark Salisbury, was released in 2021. Format Inside No. 9 is an anthology series, with each episode featuring a new story, with a new setting and new characters. Episodes run roughly thirty minutes each, with the self-contained story reaching a conclusion. The stories are linked primarily by the fact that each has an element of the story linked to the number 9, be that a mansion, a dressing room or even a shoe, size 9. Every episode stars Reece Shearsmith or Steve Pemberton, and regularly both. Each episode is effectively a short play. Some episodes take place in real-time, following half an hour in the lives of the characters. Every episode of Inside No. 9 features an ornamental hare somewhere on-screen. According to Pemberton, "Because each episode is so wildly different there was nothing really linking them other than the fact they were all inside a Number Nine, I just thought it would be nice to have an object that you could hide and just have there on every set." There is, however, no particular significance to the hare itself. As is typical of Shearsmith and Pemberton's work, the scripts address dark topics, with, for instance, the first episode touching upon incest, child sexual abuse and murder. The plotlines make use of twists and surprises of various sorts, though in some cases the surprise is the lack of twist. In an interview, Pemberton said that "there is always a desire to wrong-foot the viewer. That's what you strive to do". The tone varies episode-by-episode.