Olivia Colman

I think the best way to start the review of this programme is with the following statement: Peep Show is better than Father Ted.

I know that according to Channel 4's Greatest Comedy Show Father Ted's is better, but it's wrong. It's merely more popular. Peep Show's funnier because of the writing, the plot devices, the innovative camera work, the quality of the performances and the darkness of the humour and characters. Peep Show may never have attracted more than 2 million viewers for a single episode, but the quality of it stands.

Peep Show returned with its usual mix of darkness and desperation, thanks to the struggling lives of flatmates Mark and Jez (David Mitchell and Robert Webb). At the start of this series, Mark is trying to get Jez out of the flat so his love Dobby (Isy Suttie) can move in. Mark's plans are so desperate; he even thinks breaking Dobby's microwave will help. Also, Mark gets a job tip from - of all people - Super Hans (Matt King), Jez decides to undergo therapy, and the health of Mark's love rival Gerrard (Jim Howick) takes a turn for the worse.

There's so much to like in this opening episode, including Jez's somewhat paranoid display when he attends his therapy session, to the horrifying consequences which result when Mark tries to prevent Isy from seeing Gerrard. One interesting plot device which seems to be sprouting is Jeff (Neil Fitzmaurice), now living with Sophie (Olivia Colman), getting a bit too close to Mark's baby son Ian for his liking...

Part of the enduring appeal of Peep Show (Sunday, Channel 4) is that you want to believe that Mark and Jez are exaggerated versions of David Mitchell and Robert Webb, the comedy partners who play them. Actually it is written not by them but by Sam Bain and Jesse Armstrong (though Mitchell and Webb do provide some "additional material").

Whether or not they are like their characters perhaps doesn't matter. What is important is that those characters don't have anything in common apart from their shared flat. Mark is pessimistic, conservative and neurotic; Jez is feckless, uninhibited and shallow.

After almost 10 years, and eight series, Peep Show still feels quite subversive and edgy. The stylistic device the show pioneered - of using point-of-view shots with the thoughts of the characters audible as voice-overs - still seems fresh and it is surprising that this has been so little imitated. (There's Miranda, and that's about it.) There was a wonderfully timed moment in the first episode when Mark and Jez were having a back and forth argument which Mark ended in his head, having the last word.

To bring their story up to date: Mark is now a father, though he is not with Soph (Olivia Colman), the mother. He is trying to gets Dobby (Isy Suttie) to move in with him and get rid of Jez in the process. Jez is still unemployed and has been persuaded to see a therapist, whom Mark pays for. The humour is as black as ever, with Mark being annoyed with a rival suitor for winning sympathy by dying. My favourite line from episode one: "A squirt of Lynx: the busy man's shower."

Peep Show still feels relevant, capturing well one aspect of the aspiring but doomed middle classes. Though they are in some ways a conventional flat-sharing "odd couple", they both need each other because they like to think there is someone who is even more of a loser than they are. In many ways Jeremy is a child - a hedonistic and casually cruel one. Mark is easier to identify with. Most of us are more connected to our inner Mark than our inner Jeremy, though we would like it to be the other way around.

Not even Julia Davis could rescue star-studded self-indulgence Bad Sugar, written by Peep Show duo Sam Bain and Jesse Armstrong and the centrepiece of Channel 4's presumptuously-titled Funny Fortnight. The problem was the premise: a spoof of the telenovella, which, for the uninitiated, is a type of high-camp, short-form Spanish-language soap opera. Which prompts at least three questions: first, who has actually seen a high-camp, short-form Spanish-language soap opera? Second, why spoof a short-form, high-camp Spanish-language soap opera with British characters in a British locale? And finally, does high-camp, short-form Spanish soap opera not fall somewhere beside Donald Trump in the beyond-parody stakes? And so it was that, without any decent material to play with, a blue-chip cast (Davis, Sharon Horgan, Olivia Colman, Reece Shearsmith) mugged away exhaustingly. The pilot began with a fake "Previously on ..." montage, although I assume the corresponding "Next time on ..." montage was for real since a full series lies ahead. Which makes you wonder if all the good comedy commissioners have scarpered to Sky Atlantic.

Bad Sugar featured a power trio of comedy actresses and that was my first problem with this spoof, lampooning those big, throbbing family melodramas. To the best of my knowledge, Olivia Colman, Julia Davis and Sharon Horgan have never had their names attached to such overcooked tripe. That cannot debar them from making fun of it, but the pleasure of watching them is less because they don't bear the scars of rotten scripts past, like Hannah does. And my second problem with Bad Sugar, the tale of a wealthy mining dynasty and a battle for power involving a psycho, a drip and a gold-digging interloper? It wasn't remotely funny. The very least a spoof should be is a collection of half-decent jokes, but this was like a comedy version of Real Madrid's football gallacticos - great talent enlisted without a plan. Still, now they've appeared in a dud, our star trio can lampoon themselves with conviction at a later date.

Stereotypes abounded in Bad Sugar, a star-studded pilot spoof, written by Peep Show's Sam Bain and Jesse Armstrong and based on telenovelas and old American TV soaps - Dynasty, Dallas], [i]The Bold and the Beautiful. Except this dysfunctional, filthy-rich family of lip-glossed gold-diggers and useless husbands was British, with a tight-fisted mining billionaire father at its helm. Julia Davis and Sharon Horgan performed their "rich bitch" parts perfectly adequately ("bitch is as bitch does"), as did Olivia Colman as an animal-loving frump. Given everyone's calibre, this wasn't as funny as you might have expected. There were some good lines - when Davis's daughter ran to her in her nightdress, crying, "Mummy, I'm scared", Davis retorted: "Tell teddy about it. He'll listen." But I suspect watching repeats of Joan Collins's Dynasty might actually be funnier.

In this reduced era of four-parters instead of six, it can seem as if only two actors are in regular work: Stephen Graham and Olivia Colman. She appears in so many serious roles (last week, Accused) that I wonder if there's an entire audience which is unaware she also works often, and brilliantly, in comedy. This is a spoof melodrama about a mining dynasty.

Mangling accents and genres with glee, Bad Sugar is one of the more promising pilots of C4's Funny Fortnight. Starring three-headed comedy hydra Julia Davis, Sharon Horgan and Olivia Colman, it's equal parts telenovela, costume drama and pseudo-glossy, 'Dallas'-style family saga. The plotting - centred around the will of an ageing patriarch (David Bradley) and the scheming of his three children (plus Horgan's cuckoo in the nest, Lucy) - is self-consciously ridiculous. But Bad Sugar is sustained by a host of brilliant performances. In addition to the above, look out for Kayvan Novak (dim gardener Simon) and Peter Serafinowicz (closeted son Rolf). Tonight, the fingers of Colman's piano-playing naif Joan are mangled by a red-hot boule ball; the absurdity can only escalate when a full series airs next year.

Bad Sugar, Channel 4, review

James Walton reviews Bad Sugar, a new comedy series on Channel 4, starring Olivia Colman.

Julia Davis stars alongside Olivia Colman and Sharon Horgan in a spoof of Latin American telenovelas from Peep Show writers Sam Bain and Jesse Armstrong. Sending up a genre that's already a send-up of itself is a tough ask, but they pull it off.

Comedy fans, prepare to be excited. This new pilot has impeccable pedigree, being written by Peep Show's Sam Bain and Jesse Armstrong and starring three of our funniest actresses: Olivia Colman (Rev.), Julia Davis (Nighty Night) and Sharon Horgan (Pulling). It's a soapy spoof melodrama - think Dallas done by French and Saunders - about a rich, dysfunctional mining dynasty. Cue face-slapping, bitching and deliberately clumsy exposition.