Norton will surely enjoy having not one but two pop princesses on his sofa tonight: Katy Perry, who will be infinitely more interesting if she talks about her antics with anarchic ex Russell Brand, plus Cheryl Cole, who performs latest track Call My Name. Jollying things up with quick-thinking is comic Ross Noble.

What a fragrant and lovely Graham Norton couch this week as pop songstrels Katy Perry and Cheryl Cole take their dainty places. Ubiquitous comedian Ross Noble is also a guest, the thorn between two roses.

Cheryl Cole, after a difficult couple of years, including her marital problems and all of that unpleasantness over her here today/gone tomorrow role as a judge on the US X Factor, is back in the limelight again. She'll be singing her new single, Call My Name.

The hard-working Katy Perry has also had her fair share of personal troubles, what with the collapse of her brief marriage to Russell Brand. But she seems to be on the up, and will be promoting her concert-tour documentary Katy Perry: Part of Me 3D.

The host's two female guests tonight have a lot in common - from their dazzling white teeth, to their tabloid omnipresence, to their dubious tastes in men. And they're both pop singers. Cheryl Cole and Katy Perry certainly offer plenty of juicy material for The Telegraph agony uncle. Cole will be plugging her new single, while possibly deflecting questions about her short-lived stint as a judge on the US X Factor, while Perry has a new tour coming up. Joining them on the sofa is comedian Ross Noble.

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This Radio 2 pilot also has a live studio audience, but unlike the one watching Dave Against the Machine, this one appeared to be enjoying the show.

This "Comedy Showcase" pilot is an impressionist show covering the behind-the-scenes goings on at Radio 2. It would be lazy and predictable to describe the show as a Radio 2 version of Dead Ringers, but unfortunately that's just what I've done.

It was an entertaining listen, with the first sketch, featuring an incredibly banal and annoying Lily Allen singing to herself about stealing teabags and going to the lavatory, being a great opener. There was also the news being read out by Cheryl Cole; Alan Dedicoat acting as the voice of the Radio 2 lifts; and Shakin' Stevens and Bonnie Tyler's diabolical plan to re-launch their careers.

Admittedly some of the impressions were a bit off, such as the ghost of Winston Churchill appearing on Jeremy Vine's show, but it was still a good sketch with Churchill deciding to launch a pop career. There was also a sketch featuring Louis Spence, which given the fact that he is a dancer might work better on TV.

Personally, my favourite featured an egotistical Sting taking part in Ken Bruce's "Pop Master". Not only did the impression sound right, but it was funny. Mind you, it was always going to find it funny as I don't like Sting. That's what you get when your parents are the biggest Police fans in Teesside.

Usually "Comedy Showcase" pilots do not get full series. In fact, none of them have - which is a shame because I think that Reception could work as a full series - but I for one hope it does.

Another Monday; another hour of Alan Carr squawking at celebrities in the name of light entertainment. This week, the guests included Cheryl Cole, Michael McIntyre and the unfathomable loudness of Stacey Solomon, all of whom were surrounded by tinsel and general festive tat, just in case we'd forgotten that Christmas was almost upon us.

Jungle queen Stacey and jungle profanity-provider Shaun Ryder appeared first on the show, covering such topics as Gillian McKeith and Solomon's disastrous appearance on the X Factor final.

The questions were rightly light-hearted and as the always-watchable McIntyre came on to talk about his impending Britain's Got Talent gig, the show became even more festively cheery.

All that energy seemed to rub off on our host, as his pre-chat stand-up was on much better form than last week and he generally seemed less nervous, bouncing off his sprightly guests.

But what would happen when the omnipresent Ms. Cole came on stage? Could she maintain the energy of the programme? It seemed unlikely, given her propensity to talk at a speed suggestive of strong sedative consumption.

Sure enough, once an ill-advised acoustic performance of one of Cheryl's songs was out of the way, the show got bogged down in conversation about X Factor controversies. As Cole (very slowly) defended herself, it all became a bit bleak, but she soon perked up and though she did discuss her brush with malaria, not a single tear was shed.

This show is only ever going to be as good as its guests and tonight it was very good indeed.

While my howls of pain at the continuing run of Frankie Boyle's Tramadol Nights - aka a televised version of the Nirvana b-side I Hate Myself And I Want To Die - were unnoticed, The Morgana Show gets stronger and stronger.

The show by a relative newcomer is full of great characters and solid sketch comedy. Comparisons with Kenny Everett's show with its grotesque gallery of characters and childish desire to shock have been made and they're on the money.

I loved Kenny Everett's schtick as a kid and Morgana carries on that tradition. Her takedowns of Cheryl Cole, Danni Minogue and Fearne Cotton are particularly brilliant. Skip Frankie Boyle's boorish balderdash and watch the Morgana Show instead.

Hands up anyone who's heard of Morgana Robinson. Despite her near invisibility on the comedy radar, Channel 4 has obviously decided Morgana is The Next Big Thing and commissioned an entire series based on... what, exactly?

Judging by the first episode, the answer would appear to be her ability to match Frankie Boyle in the use of the f-word, and her passable imitations of Fearne Cotton and Cheryl Cole. Sadly her own characters are little more than lazy, one-dimensional stereotypes that merely limp off the page.

Robinson's most "famous" creation, 14-year-old Gilbert the uber-nerd who's attempting to make a video diary with the help of his granddad, has apparently already garnered a following on YouTube. Despite the standard-issue geek clothes and inch-thick lenses, however, Gilbert barely passes for 17, never mind 14. Robinson also takes whining teenspeak to such a level that the dialogue is basically indecipherable.

Some sketches, like the bickering TV reporters, are mercifully short. Others, most notably Madolynn the past-it Hollywood starlet making a complete fool of herself in a restaurant, drag on interminably. Vicious drunks are not funny, particularly with lines like "This toe was caressed by Martin Scorsuzu". Even less tasteful is an attempt by her husband Norman to excuse her behaviour. As she topples off her chair, taking the tablecloth and crockery with her, he turns to their mortified companions and mutters "She has Asperger's". Boyle would have been proud.

Equally unlikeable are Joyce and Barry Dickens, funeral directors from Chumley, Yorkshire. Barry is a mine of useless information who never shuts up, much to the annoyance of acid-tongued wife Joyce, who never misses an opportunity to tell him what an absolute cretin he is. "You know the Aztecs used to burn stupid people, Barry". And what could be more hilarious that watching the two of them get all lovey dovey during a memorial service while the poor unfortunate corpse has his legs sticking out because Barry is too much of a dozy git to pick the right size of coffin.

The annoying commuter on a train who shrieks into his mobile the entire journey, a couple of senile Chelsea Pensioners who appear to have wandered in from a Harry Enfield/Paul Whitehouse sketch, Lady Gaga attempting to steer a riding mower in some kind of bizarre headgear - on it goes, all accompanied by the obligatory canned laughter. Heaven knows if it was performed in front of a live audience the silence would have been deafening.

Robinson's talents obviously lie in impersonation rather than straight acting - the highlight, such as it was, of the first programme was a 12-year-old Boris Johnson attempting to win a prep school debate by running roughshod over the opposing team. But alas she is no Catherine Tate - the lack of memorable characters does nothing but drag the show down.

If The Morgana Show had started out as a one-off pilot, and Robinson and co-creator James De Frond had been given a chance to fine-tune the sketches over time, the show might have evolved into something passable. But dumping her in at the deep end with a whole series to fill just highlights the weakness of the material. Back to the drawing board on this one.