BBC Two's newest comedy drama c]Nurse] is written by and stars Paul Whitehouse as a cavalcade of characters. Originally airing on Radio 4, the programme sees Esther Coles star as Liz; a community psychiatric nurse with a number of colourful patients. Whitehouse appears in almost every scene and in the first episode played a total of six characters. As with a lot of character-based comedy not every situation hit the mark especially one in which Simon Day played Whitehouse's former prison roommate. Whitehouse is now stranger to playing multiple characters having done so in everything from The Fast Show to those ubiquitous Aviva adverts. However I don't think his brand of humour quite fit the subject matter of Nurse[/] which at times felt quite dark. For a show that's billed as a comedy first and foremost I didn't laugh once but then again I didn't know if I was really supposed to. This was a problem for me as their was an imbalance of tone between Whitehouse's broad humour and the sensitive subjects that Liz had to deal with during her rounds. Whitehouse has perfectly mixed pathos and humour before, most notably in his underrated sitcom Happiness, however I don't think Nurse stands up against the comedian's former offerings. Thankfully there are some bright spots in Nurse most notably Esther Coles who is perfectly convincing as the harassed Nurse Liz. In my opinion I found the most successful scenes were the ones in which Liz was on her own talking to on her phone to her kids or her estranged husband. Similarly Liz's meeting with the brilliant Rosie Cavallero's Cat Lady was the first episode's most moving scene. This leads me to believe that Whitehouse's insistence on playing the majority of the characters is a hindrance to Nurse's overall success. Had he simply selected to play one role than I feel that I would've enjoyed Nurse a lot more than I actually did.

In Nurse Paul Whitehouse has, with co-writer David Cummings, adapted this multi-role comedy, almost literally fleshing out the characters with much aid from prosthetics.

He plays most of the patients - or service users, as NHS jargon now has it - of the eponymous nurse, Liz (beautifully played by Esther Coles). She's a community psychiatric nurse and in last night's opening episode of four we followed her as she attended to her charges - which seems to involve injecting most of them in the bum with their medication - while visiting them in their homes.

As first sight Liz's patients may seem to be a gallery of grotesques - they include Graham, a morbidly obese young man who can barely move from his bed, a psychotic, agoraphobic ex-prisoner Billy, and ageing lech Herbert (shades of The Fast Show's Rowley Birkin), long past his many sexual conquests - but they are beautifully observed and carefully constructed individuals, people we laugh with, not at.

Whitehouse and Co (aided by Ian Fitzgibbon's adroit direction) capture the huge array of mental health issues, and intelligently address the very real problem that some sufferers have - of people close to them with whom they are in dangerously co-dependent relationships. It's a recognised phenomenon that a loved one can still be jealous of the person getting, as they see it, all the attention, or that they fear the patient becoming well and leading an independent life means their role within it diminishes, and so may try to scupper their recovery.

Other roles in a very strong cast are filled by, among others, Ben Bailey-Smith (aka Doc Brown) as a joky police officer Liz deals with on a frequent basis; Whitehouse's old confrere Simon Day, as Billy's controlling friend Tony; and Rosie Cavaliero, who like Whitehouse plays more than one role - Graham's overfeeding mum and April, a woman who lives alone with her monstrous regiment of cats, eating the same food: "If it's good enough for my little darlings, it's good enough for me."

Nurse is full of pathos and there are no Fast Show punchlines or catchphrases, but there are many, many laughs - often slipped in as throwaway lines or there to undercut the poignancy.

Created with evident affection for the institution of the NHS, and a deep respect for those working in it, Nurse has a real emotional pull while supplying some snortingly good comedy. Warmly recommended.

For his first dramatic acting role, comic Harry Hill was desperate to play the original Nutty Professor from Norman Hunter's children stories.

Swapping his trademark ear-skimming collars for Branestawm's multiple pairs of glasses, he's the perfect fit for the role in this one-off special penned by Charlie Higson - which we predict will be the first of many.

The Fast Show's Higson, a best-selling children's author, has added some modern touches of his own that should strike a chord with a brand new TV generation raised on sonic screwdrivers.

By far the most significant is the addition of a determined young sidekick called Connie (Madeline Holliday) who is fed up with being taught useless subjects at school.

Even though Branestawm may be the worst science teacher you could imagine, I practically cheered to hear Connie say that she wanted to learn about civil engineering.

As the Professor's inventions bring chaos to the village of Great Pagwell, Hill is joined by another Fast Show stalwart, Simon Day, as Branestawm's best friend Colonel Dedshott.

David Mitchell plays his nemesis, the officious councillor Harold Haggerstone who wants to shut down Branestawm's "Inventory" and Vicki Pepperdine is his housekeeper Mrs Flittersnoop.

It's all hugely silly, but perfect family entertainment nevertheless.

Professor Branestawm: Why you should tune in

Although he's supported by a starry British cast including the always brilliant Vicki Pepperdine, Simon Day, David Mitchell and Ben Miller this is definitely Hill's big outing, and whether you enjoy it or not obviously depends on whether you actually like the former comedian turned King of Bloopers.

Advertising man and stage magician Norman Hunter first created his quintessential absent-minded professor in the 1930s, in a couple of well-loved children's books. He then took a 33-year break, reviving Branestawm in the 1970s when he knocked off a string of books of comically disastrous experiments, which became fixtures of the story-reading show Jackanory for a new generation.

Nothing much had changed: Branestawm still existed in a dreamy, madcap world where "doing science" meant blowing things up and it was understood that geniuses were exempt from normal behaviour, like dressing properly or remembering anything.

Now, science tends to mean computerised calculations and even landing a rocket on a comet does not exempt a chap from apologising for a dodgy shirt. In fact, not all scientists are even chaps. But we still have this idea - popularised by dramas like The Social Network or Sherlock - that no-one can be that clever and still be, well, "normal".

Charlie Higson, who revived another old franchise for the pre-teen set with his Young Bond books, has adapted Hunter's characters for a nostalgia-soaked family romp, nominally set in the 1930s but actually set in a delightfully artificial never-was.

Harry Hill makes his thespian debut as the eccentric academic, though it's more of a broad performance than actual acting. But he's surrounded by a capable, in-on-the-joke cast including Ben Miller, Simon Day, Vicki Pepperdine and Higson himself. A basically-modern little girl sidekick (Madeline Holliday) stands in for the hoped-for young audience, gleeful over bangs and mess but still, perhaps, getting hooked on science into the bargain.

Harry Hill stars as Professor Theophilus Branestawm in an adaptation of Norman Hunter's classic books. He's an absent-minded inventor, prone to left-field mutterings, which makes him an easy target for local businessman Mr Bullimore (Ben Miller) and councillor Harold Haggerstone (David Mitchell), who want to eject him from the village of Great Pagwell. Assisted by schoolgirl Connie, best friend Colonel Dedshott (Simon Day) and housekeeper Mrs Flittersnoop (Vicki Pepperdine), will he prevail?

In which Simon Day's progger attempts to stage a live performance of his Day Of The Triffids musical ("The Triffids descend from the skies/ To sting our eyes!") at Mount Kilimanjaro. What could possibly go wrong? Actually, aside from being mistaken for a racist, not much: Roger Moore's a hoot as the Richard Burton-style narrator, gamely ploughing on through a Triffid-human molestation sequence: as Tim Rice comments, "It didn't go down very well with Germaine Greer - or Percy Thrower."

Radio Times review

A second slice of the joyfully funny Simon Day-fronted spoof rockumentary sees our hero desperate to finally stage his Day of the Triffids rock opera. But will Pern be upstaged by the other members of his erstwhile prog-rock band Thotch (Paul Whitehouse's Pat Quid and Nigel Havers's Tony Pebble, pronounced "Pebblay")? Not likely.

He has a few problems ensuring the confectionery stand stocks vegetarian-only Jelly Babies, however, and a Twitter storm erupts when a stray mic catches him remarking how he "hates Blacks". Pern, of course, is referring to the outdoor clothing specialists. Roger Moore and Paul Young are among the guest stars.

Brian Pern: A Life in Rock was very funny indeed, and featured great cameos from, among others, Martin Freeman, Kathy Burke and Tim Rice. It's splenetic, hilarious and just wrong. Can there be yet another urgent need to send up the pomp of the prog-rock years when it has already been spoofed so sublimely by Spinal Tap, and The Comic Strip's Bad News Tour?

Simon Day is behind this, and very good he is too, and you should watch it if you haven't watched any other satire on 70s musical vainglory. But if you have, you'll simply be asking yourself: why?

Anybody who saw the faux documentary presented by Brian Pern (Simon Day) on BBC4 knows that the frontman of Genesis-esque prog rock band Thotch is a great comedy creation.

Director Rhys Thomas, who co-wrote the series along with Day, brilliantly portrays the life of an ageing rocker as he tries to keep himself relevant with a modern audience. The stories of Pern refusing to be in a room with his former bandmates (played brilliantly by Paul Whitehouse and Nigel Havers) were perfectly pitched. The creation of a Thotch jukebox musical was an equally enjoyable subplot especially when the show's director Kathy Burke decided to cut all of the overly long Thotch songs from the show.

I personally enjoyed the final few moments of the comedy as Pern was dragged into the police station in a manner that would suggest he was part of a Yewtree-type investigation. But the punchline itself was brilliantly delivered as was the reaction from Pern's manager John Farrow (Michael Kitchen).

Part of the charm of Brian Pern is the fact that everyone is willing to go that extra mile and, in the case of those playing themselves, send up certain elements of their characters. Martin Freeman is a prime example of this as he tries to capture Pern's mannerisms in order to correctly portray him in the musical.

Meanwhile, a cameoing Tim Rice perfectly sums up his feelings about the Jukebox musical and how they've taken away from his type of musical theatre.

Although some of the jokes don't hit the mark, Brian Pern: A Life in Rock is a perfectly constructed mockumentary that owes a massive debt to the work of Christopher Guest. The fact that the sitcom is only three parts means that it won't outstay it's welcome and at the same time will leave the audience craving for more from Day's egotistical prog rocker.