Alison Graham

The once frosty Caroline (Sarah Lancashire) is thoroughly thawed, having re-evaluated her life during that long and worrying night when her mum and Alan were missing.

With a spring in her step, she returns to her enviably lovely house in Harrogate to tell her nearly ex-husband John that she is in love. Though with someone else entirely. The look of horror that transfixes his face is an absolute picture (no one can do baffled comedy-appalled quite like Tony Gardner).

Things are even looking up for Alan's daughter Gillian (Nicola Walker) up there on her chilly farm in the wilds, with all sorts of unsuitable men beating a path to her door. Ends tomorrow.

The older doctor (Jon Hamm) is looking sweaty and wan in his 1934 Moscow practice under the withering gaze of a Soviet soldier. As they both stare meaningfully at his diaries, we are wafted back to 1917 and that spartan clinic in the back of beyond.

On the page this is one of author Mikhail Bulgakov's most poignant stories, as the young doctor (Daniel Radcliffe), who has grown a feeble beard in the hope that it will make him seem more mature, faces a terrible predicament when a distraught father brings in his gravely injured young daughter.

Prepare for buckets of stomach-churning gore (be warned, it's unsparing) and low farce.

Now that Alan and Celia have accidentally been shut in a stately home, their anxious families can have a long, difficult and revelatory night as they wait for news.

It's a ridiculous plot device, but at least it allows daughters Caroline and Gillian to reach an understanding as they are locked together by worry.

As for the two elderly lovebirds (Anne Reid and Derek Jacobi), they are oblivious to the ructions back in Halifax and Harrogate, and are happily planning their future together as they play cards by candlelight. Then suddenly things get all Secrets of Crickley Hall when they hear a ghost...

It feels like a turning-point episode in Sally Wainwright's drama, when we learn more about the sorrows of the past, and everyone, particularly Caroline (Sarah Lancashire), decides it's time to seize some happiness.

Peter Kay is a notoriously difficult comedian to interview; not that he doesn't have anything to say, quite the opposite, he's voluble and very funny. But it's hard to pin him down when you want a serious answer. I know, because I have tried. He's great company, though.

Judging by some online audience reviews - In Conversation was filmed at the Blackpool Opera House last month - disgruntled fans didn't think interviewer Danny Baker got near the real Kay. But maybe it's best to judge for ourselves. During their chat Kay talks about how he does what he does, both on stage with his record-breaking gigs, and in TV shows Phoenix Nights and Max and Paddy's Road to Nowhere.

Sky Arts has a bit of a coup here, securing Jon Hamm and Daniel Radcliffe to star in a knockabout version of Mikhail Bulgakov's autobiographical short stories about a young doctor in pre-Revolutionary Russia.

Everyone has decided that the short stories are funny, so the tone is breezy and jokey from the beginning, as Hamm looks back fondly at his newly graduated younger self (Radcliffe) arriving to take up his very first job, at a hospital in the snowy Russian wastes.

The doctor is immediately confronted by his hatchet-faced staff of three: two grim nurses and a weird factotum prone to elliptical conversations. Soon the central conceit evolves to the younger doctor actually engaging with his older self as the two argue and get into fights. It's all very slight, but the skill - and in the case of Radcliffe, also the charm - of everyone involved keeps A Young Doctor's Notebook bubbling along.

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Aged lovebirds Celia and Alan (Anne Reid and Derek Jacobi) potter happily through their new life together as their families fall apart around them. Celia's brittle daughter Caroline (Sarah Lancashire) rages against the infuriating and inept drunken man of straw she married, while Alan's daughter Gillian (Nicola Walker) is humiliated by that nasty piece of work she's sleeping with.

This all sounds desperately soapy, but it isn't, though things get a bit weird by the end with some nonsense about a haunted country house that feels like it belongs in another drama altogether.

Still, writer Sally Wainwright likes to spring surprises (and there are quite a few of those in this episode) as Alan and Celia take the next step in their relationship. Caroline, meanwhile, drops her guard in that lovely big house in Harrogate so we glimpse the well of loneliness that lies beneath her flinty exterior.

It's a mark of the rapidity of John Bishop's comedy ascent, and the place he's hollowed out in the national consciousness, that he's been given his own review-of-the-year show.

This is a rare honour, but we are in good hands. Bishop is a sharp and clever observer of the British character (see John Bishop's Britain) and an astute commentator on our little foibles, from our obsession with naan breads the size of duvets to our fear of arm-breaking swans.

In John Bishop's Big Year, the comedian performs two stand-up sets (the second will be shown next Friday) in front of a studio audience. Both focus on the events of the past year, so there's plenty of material. The Jubilee, the Olympics and Paralympics, the terrible washout summer, even the success of Fifty Shades of Grey - all are fair game.

Both shows will be peppered with news footage and silly sketches.

Tonight's line-up has the potential for all kinds of off-kilter brilliance - Hollywood star Jake Gyllenhaal, caustic comic Joan Rivers and Top Gear's Jeremy Clarkson and James May. Makes you almost feel sorry for Gyllenhaal, a serious actor, surrounded by that lot. His sister Maggie was a Norton guest two years ago and looked terrified.

He's here to talk about his latest film, the police thriller End of Watch. Rivers will be triumphant after a sell-out British tour, while Clarkson and May have a Top Gear DVD to plug.