It is rare for me to recommend a programme that I have not been able to listen to but this new series strikes me as a risk worth taking. Why? Because it stars Mathew Horne (Gavin & Stacey), whose comic acting I greatly admire, and it is produced by Katie Tyrrell, who has Just a Minute and Clare in the Community among her many Radio 4 production credits.

The idea sounds strong too: Horne plays Stuart, a man recently made redundant by the Job Centre who finds himself in the invidious position of having to queue up with his former clients to be interviewed by his former colleagues. Watch this space...

Spotlight on: Mathew Horne's stage acting

Mathew Horne became a household name as half of the eponymous couple at the heart of Gavin and Stacey, but his current role in Jamie Lloyd's revival of The Pride at Trafalgar Studios sees three different side of him, injecting both comedy and pathos into his trio of supporting roles. So So Gay were lucky enough to grab some of this busy's man's time for a few incisive questions. And he gave us a killer sign-off.

Love him or hate him, James Corden undeniably does have a range of talents - actor, writer and co-creator of some very funny comedy (we'll politely forget the car crash of his misguided BBC sketch show with Mathew Horne). And now, dontchaknow, he's come up with another comedy vehicle, The Wrong Mans (****), which had a very accomplished debut last night.

Corden, late of the National Theatre and Broadway, has co-written, with fellow Gavin & Stacey alumnus Mathew Baynton, a comedy thriller in the style of Simon Pegg and Joe Wright's Cornetto trilogy, with appreciative nods (in the title) to Alfred Hitchcock's 1956 thriller and, in camerawork and misfit leads, to Peep Show.

Baynton is nice but weedy Sam, who wakes up one wintry morning with the mother of a hangover, only to find his pushbike has been stolen so he has to walk to work, as a town planning and noise guidance adviser for Berkshire County Council. On his way, he's the only witness to a car crash and he picks up a ringing phone; a man issues threats and in later calls it's clear a woman has been kidnapped.

At work Sam takes postboy Phil (Corden) into his confidence. Phil is beside himself; he's a 31-year-old living at home with his mum and he keeps trying to organise fun days paint-balling or bowling with his colleagues (oblivious to the fact they all think he's a boring knob); for him, this mystery is his very own live-action Grand Theft Auto, and he convinces Sam not to call the police but to try to rescue the woman and become heroes.

The opening episode efficiently essayed the set-up, and there are some promising relationships to be explored in the following five weeks. Sarah Solemani (who was so brilliant in Him & Her) is Sam's boss, but also the girlfriend who recently dumped him because he was too needy, while Tom Basden is the horrible colleague we'd love to be taken down a peg or two.

Corden clearly has pulling power, as those names above suggest, and Dawn French, Nick Moran, Rebecca Front and Dougray Scott will appear in future episodes - although David Harewood, who appeared briefly last night, shot his scenes before his Homeland stardom. The opener had some neat twists and turns and ended on a great cliffhanger. Definitely one to stay with.

Series two of Jack Whitehall's sitcom kicks off with that most excruciating of school rituals: the swimming gala. Naturally, the teachers are far more competitive than the pupils and place hefty bets.

Sporting a new bowl haircut that will also bring back ugly memories for some viewers, Whitehall's character sets about bribing his class into the pool but is thwarted by a lifeguard even meaner than the deputy head.

Michelle Gomez plays the latter with gleeful menace, while Mathew Horne returns as the highly inappropriate, equally frightfully coiffed headmaster. Prepare for lewd gags and the eye-watering sight of Whitehall in nothing but Y-fronts.

The second series of Jack Whitehall's crazy popular Bad Education has been available on iPlayer for a while now, but you know what, we're TV purists and have decided it's worth waiting to see it premiere in all its glory on the big(ger) screen. Keep your laptops and your smart telephone android things, youths!

That wait is finally over this week when the comedian's bumbling teacher Alfie Wickers, who's now sporting a retro bowl cut, kicks off a new term by bribing his long-suffering class into taking part in a swimming gala organised by clueless headmaster Fraser (Mathew Horne) after taking a bet from the terrifying Miss Pickwell (Michelle Gomez). Oh blimey, there's surely only one way this can be heading... Jack Whitehall in Speedos.

If Bad Education was a child, it would be one of those bright but infuriating kids with ADHD who fly around the room never quite settling at anything. One whose moments of brilliance are punctuated by tiring bouts of 'look at me, look at me' daftness.

At least Jack Whitehall's comedy - debuting on BBC iPlayer - feels like it's taking place in the 21st century unlike David Walliams and his oddly dated Big School. Whitehall's hopeless goon of a teacher, Alfie Wickers, one of those types who wants to be mates with the kids rather than, you know, actually teaching them anything, feels absolutely in tune with the way education is going.

And, in-between descending into cringe-making farce, Whitehall mines comedy gold from potshots at Mumford & Sons ('you're too young to appreciate a good dinner-party anthem when you hear one') and his ill-fated efforts at convincing colleague Miss Gulliver of his boyish charms. Efforts not entirely dissuaded by her admission that she bats for the other team.

'I am angry and aroused and upset,' was his reaction to her sudden conversion to lesbianism. 'But mostly aroused.' When he's dishing out the banter, Whitehall is a sharp writer. But a lot of Bad Education flails around in the shallow end of physical comedy, with extended sequences at a swimming gala failing to make much of a splash.

That said, it did allow the somewhat niche delight of watching Mathew Horne's head (teacher) attempting to break in a pair of Speedos and Whitehall streaking around the corridors, blinded by a horror-movie spin on a chlorine allergy that made him look like a Doctor Who alien. It was high on energy but low on subtlety, driven by the false assumption that physical freakiness is so funny it requires no other target.

Whitehall should ditch the slapstick and stick to the staff and classroom sniping. Because when he does it's A*. Otherwise, it's an epic fail.

BBC Three is launching all its new scripted comedy online ahead of being broadcast on ye olde-fashioned telly.

First new kid out of the block is the second series of Jack Whitehall's school room farce, available tonight a week ahead of its official BBC Three premiere.

Whitehall's character, Alfie Wickers, is still a tragic plonker, getting his trunks in a twist at the school swimming gala and fantasising over his imaginary relationship with foxy Miss Gulliver (the excellent Sarah Solemani).

All that, though, is trumped by Mathew Horne's 'down with the kids' headmaster and his extraordinary barnet, a triumph of dodgy coiffing if ever there was one.

Interview: Mathew Horne

Mathew Horne, 34, is best known for hit sitcom Gavin & Stacey. He can be seen in West End play The Pride and TV series Bad Education.

Marc Warren's Hey Diddly Dee [was] a lame comedy about a flailing Andy Warhol musical prepping for its West End premiere. Peter Serafinowicz plays the aging, egotistical star; Kylie Minogue his leading lady and Mathew Horne his browbeaten understudy.

Crammed with creaking theatrical cliches - superstitions and la-di-da luvvies - it treats theatre with patronising contempt. David Harewood gives a corking cameo as the pandering director, but based on this effort, Warren should be banned from coming within 100 yards of a writing implement.

The first in a new series of Playhouse Presents, Hey Diddly Dee was an extremely enjoyable, deliciously dark comedy about a dismal West End production's final day of rehearsals.

Tensions are already running high when obnoxious star Roger Kite (Peter Serafinowicz) denigrates the production in front of the cast, humiliates his understudy (Mathew Horne) and unceremoniously dumps his co-star mistress (Kylie Minogue). But most recklessly of all, Kite threatens the theatre's lucky cat - never a good idea, given the theatre world's preoccupation with superstition and the supernatural.

Writer and director Marc Warren throws in every conceivable showbusiness cliche and mixes them up to fun effect. The story itself gets a little lost, and the ending is confusing to say the least, but the performances from the starry cast are terrific. I particularly enjoyed David Harewood, fresh from being blown up in the series finale of Homeland, as the hapless director trying and failing to keep his volatile star sweet.