series. Cooke expressed particular admiration of Pemberton and Shearsmith's ability to squeeze "perfectly formed narratives – characters with proper backstories, scenarios that are complicated and unwind relatively slowly – into just 30 minutes". Also writing mid-series, journalist Gareth Lightfoot called Inside No. 9 "hands down the best, freshest thing on [television] at the moment" in the Evening Gazette, though he doubted whether it could truly be considered comedy. Donal Lynch, of Irish newspaper the Sunday Independent, suggested that, like the previous work of Pemberton and Shearsmith, Inside No. 9 may be something of "a cult hit/acquired taste". Barry Didcock, of The Herald, expressed a similar sentiment, calling Inside No. 9 "probably the most Marmitey programme on television". The Times published a response to a complaint received from a viewer, who was unhappy with Chater's positive reviews of Inside No. 9, suggesting that "A Quiet Night In" was more traumatic than humorous. Sam Wollaston, television critic for The Guardian, noted that humour is extremely personal, and though he could appreciate much about Inside No. 9, he had never liked Pemberton and Shearsmith's work: "I'm sure I'll be crucified – probably quite rightly – but I don't love Inside No 9." Some tabloid columnists also expressed dissatisfaction with the programme. Virginia Blackburn, of the Daily Express, wrote a highly critical review of "Last Gasp". Blackburn considered Inside No. 9 an example of the weakness of contemporary television comedy, saying that the episode is "not funny, it's not clever and is so utterly, irredeemably, naffly silly that it ends up being incredibly irritating and nothing else". Another journalist unimpressed was the Daily Mirror columnist Kevin O'Sullivan, who dismissed the programme by saying simply "BBC2's alleged comedy Inside No. 9: didn't even smile". Cooke observed the difficulty in reviewing Inside No. 9 as a whole due to the fact that each episode is different from the last. "Sardines" was commended for its cast and acting, as well as the scripting, but critics had a mixed response to the twist ending. "A Quiet Night In" was a change in approach, relying on physical comedy, but it was well received as funny, and inventive. "Tom & Gerri" was less comedic but darker than previous episodes; critics commended the plot, but disagreed about the portrayal of mental illness in the episode. Less horrific than other episodes in the series, "Last Gasp" dealt with themes of celebrity culture