The murder case rumbles on, and suspicion begins to spread through Entirely Tiles as Mrs Bridges' reign of non-Nespresso terror continues. Mary uses her unlikely "very sensitive bitch-dar" to probe the lottery situation, with Henry's help. Meanwhile, behind bars, Top Dog ditches her posse after a cigarette racket throws up a menthol ("a pudding fag"), causing the bereft gang to latch on to Helen. She's using her prison time to learn about the law, mostly from reading John Grisham novels, but with Jennifer Saunders's governess otherwise occupied, things don't look too hopeful.

If the second part of last week's double bill seemed slow, here's a cracker of an episode to drive the series along. Anna Crilly (Magda in Lead Balloon) steals the show as German cannibal Gertrude Wermers, who comes to the prison on an exchange programme, much to Top Dog's delight. In the office, there's more news about the mystery of the lottery syndicate, and Mr Bridge's widow makes her presence felt by removing the Nespresso machine.

It's the penultimate episode of Simon Amstell's meta-comedy, which this week weaves his real-life Russell Watson incident - a joke on breakfast TV about the focus on the opera singer's tumour - into the plot. Simon's plans to move out suffer yet another setback, while Samantha Spiro continues to steal the show as hilariously grotesque Auntie Liz.

Simon is about to appear in an "intimate" performance of ]i]The Tempest[/i], though his mother would rather he did his Rocky impression. Most of tonight focuses on his struggles with acting, as pointed out by some of the less kind critics of the first series, which throws the whole thing into an increasingly self-referential spiral. Funny, sharp, odd and dark, this is one of the best comedies on TV right now.

The second series of Simon Amstell's meta comedy takes it up a notch by introducing a new fictional comedy show written by Simon, about his family. The farcical elements remain sharp, as Simon wakes up next to a man who insists on referring to him only as Simon Amstell, and the supporting cast is impeccable, particularly Samantha Spiro's angry aunt and Rebecca Front as Amstell's mother: "You're back on telly!" she beams. "I don't care if it's absolute shit."

The return of Ab Fab was always a bit of a worry; the first three series were excellent, but in the post-Heat landscape, their satirising of celebrity just didn't have the same bite. Thankfully this is a return to form. Fame moves so quickly even Eddie can't keep up - "there's a new disease called Kardashians" - and as a result the comedy here is more straightforward, focused and funnier. Look out for a brief guest appearance from The Killing's Sofie Grabol.

Lauren Socha: the Misfit who made it

She's most famous as the wise-cracking Kelly in Misfits, but there's a lot more to the Derby-born actor than that.

The ever-brilliant Jennifer Saunders hosts this two-hour dedication to the comedy of the 90s, offering a broad overview of its sitcoms, stand-ups and all that's in between. The stars of The League of Gentlemen, The Royle Family, The Fast Show and, naturally, Absolutely Fabulous all pop up to talk a decade of funny, with Reeves and Mortimer, Adam and Joe and Ardal O'Hanlon also on anecdote duty.

Though the prospect of Jason Manford hosting an X Factor-style competition for 10 amateur standups sounds more like Saturday night light entertainment, this turns out to be a meatier proposition, not least because watching people cold-sweat their way through a sudden attack of the unfunnies makes for painfully gripping television. Alan Davies and Kate Copstick are the fairly devastating judges; now that The Apprentice is over, get your fix of schadenfreude here.

We're halfway through its second series, and Misfits doesn't appear to be taking a break from its status as the best-looking, funniest show on TV. Alisha finally gets a more interesting plot, with the soon-to-be-unmasked crusader taking a special interest in her, while Curtis starts to see glimpses of the future he jumped into last week. And there's an amusing subplot involving an unscrupulous tattooist who invokes the wrath of Kelly: "You can't make people gay just 'cos they're dickheads." Brilliant.