Rosie Cavaliero

The deliciousness of a bubbly milk, however bubbly, cannot match that of the script and performances in this subversion of period dramas, set on a country estate in 1831 and home to housekeeper Dorothy, who Norman Bates would admire.

Hunderby is a wolf in a stiff corset, its teeth exquisite blades of language which shred characters' dignity and rip into Sunday night bonnet dramas, writers Julia Davis and Barunka O'Shaughnessy crafting sentences which glory in lampooning the literature of that time. A delirious and hysterical work of Gothic imagination to rival Wednesday Addams' diary - I had tears running down both sets of cheeks.

The first of this two part special assembles the scheming of Dorothy, the doomed love affair of Dr Foggerty (Rufus Jones) and Helene (Alexandra Roach), the simpering Hester (Rosie Cavaliero, more on her later), and a violent monkey. A monkey, Rufus Jones tells me, that between takes would wear a smoking jacket and a fez. That's normal by this show's standards.

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.

Sky's been on a bit of a role in terms of comedy commissions. While most of the notable ones have been on Sky1 and Sky Atlantic, other channels have been making their own shows, with this one coming from Sky Arts 1.

A Young Doctor's Notebook is based on a collection of short stories made by the Soviet novelist Mikhail Bulgakov, most famous for his book The Master and Margarita. The story's told via extracts from an old doctor in 1930s Moscow (played by Mad Men star Jon Hamm), about his experiences working in tiny village hospital in the middle of nowhere just after his graduation in 1917 (his younger self being played by Daniel Radcliffe of Harry Potter fame).

The opening story see the young doctor arrive at his new practice and dealing with his much more experience staff: Anna (Vicki Pepperdine), a midwife who is obsessed with the doctor's late predecessor Leopold Leopoldovich; fellow midwife Pelageya (Rosie Cavaliero) and the boring feldsher (Adam Godley). As the story goes on, the young doctor finds himself mysteriously in conflict with his older self, who keeps telling him what to do.

This opening episode was highly enjoyable. I've read some of Bulgakov's work before (i.e. Heart of a Dog) so I know a bit about his life and the book's in some ways based on his own experiences as a doctor in the Russian countryside. It does make you wonder exactly how much of it's based on stuff which occurred to him as there's quite a lot of gore. One of the most horrific yet funny scenes involves the young doctor trying to extract a tooth from a patient, which first leads him to drag the patient around the floor, before doing something I don't think it would be wise to mention now.

It's not just the slapstick which is good, but the characters too, especially the staff the doctor has to work with. The feldsher for example makes a study of how many things you can possibly fit into the young doctor's luggage (he counts socks individually).

Many people will be watching A Young Doctor's Notebook just to see the high-profile leads, but there's much more to this programme than just the cast.

I have tried to like Full English, I really have. I love animated comedy - The Simpsons and South Park are two of my all-time favourite TV shows - and appreciate all the time, effort and expertise that goes into making them. But three episodes into Full English's run and I think I've seen enough.

The show is set in the south of England suburban home of Edgar and Wendy Johnson - voiced by Richard Ayoade and Rosie Cavaliero - and their three teenage children. Ostensibly your quintessentially dull, middle-class family, their lives are touched by the bizarre, surreal and frequently sexual.

Full English does have its funny moments, particularly the throwaway visual gags, but the script largely comprises sledgehammer satire, sniggering scatology and obvious pops at pop culture. All of which aren't bad in themselves if they were tempered by a little charm, but the show has none.

True, the priapic grandfather is accompanied everywhere by a giant green invisible friend, but this device feels like it has been bolted onto the show to inject quirkiness, rather than coming naturally out of the set-up.

To deliver one more kick to Full English's CGI groin, I find the show visually disappointing. The animation is flat and uninteresting, while the characters' faces are ugly and unappealing. I blame the way they've drawn the eyes.

This new cartoon series is Britain's answer to ]Family Guy.But if it looks slickly American that's because, although it was created by brothers Jack and Harry Williams and Alex Scarfe - son of cartoonist Gerald Scarfe and Jane Asher - the animation was done in LA at the studio responsible for Futurama, and The Simpsons Movie.

Be warned that Full English isn't for kids. It features animated sex plus some stuff about Nazis and disabled people that is offensive in ways I haven't even worked out yet. And one character's pursuit of The Queen could well spark another royal scandal. Simon Cowell probably won't be a fan either.

The voice work is by Richard Ayoade as dad Edgar, Rosie Cavaliero as wife Wendy and Fonejacker's Kayvan Novak as both of their sons.

The standout tonight is daughter Eve (voiced by Daisy Haggard), who auditions for Britain's Got Talent with hilariously predictable results. I'm not sure about the father-in-law and his imaginary friend, though. Is Britain ready for a large green balloon?

Gary Bellamy takes the nation's spiritual pulse at a festival, in an episode that may revive memories of 1970s new-age expos such as the Mind, Body and Spirit exhibition. Great to see the wonderful Felix Dexter again in various roles, while highlights include Robert Popper repping for the "Tarvu" faith ("SO easy to join"); Rosie Cavaliero as a Bellamy's Babe; and Lucy Montgomery as a Doctor of Dreams: "A lot of the other stalls are twaddle. I've got a BSc." Brilliantly funny.

It's not The Fast Show and nor does it try to be, but this new series, a spin-off from Radio 4's award-winning spoof phone-in Down The Line, finds Paul Whitehouse and Charlie Higson back together on TV for the first time in a decade, with their old mucker Simon Day also popping up in some of the sketches.

The Bellamy of the title is radio host Gary (Rhys Thomas), who sets off on a trip around the UK, encountering all kinds of bizarre, eccentric characters - many of whom, of course, look naggingly familiar.

They include a celebrity criminal, a 23-stone bed-ridden man, and a pair of posh sisters with decidedly dubious political views. Other top comic talents putting in an appearance include Lucy Montgomery, Rosie Cavaliero and Felix Dexter.

Saints be praised! Sunday night television is saved by the return of Jennifer Saunders's fabulous comedy centring on the activities of the Clatterford Womens' Guild. It's brilliant, gentle stuff, but cut with a sense of anarchy that you'd expect from Saunders's writing. Sue Johnston, Dawn French and Pauline McLynn are all back, with great support from Rosie Cavaliero, David Mitchell and
Maggie Steed, amongst others. This first hour long episode of three has the villagers getting flustered over a planning application - then they find out it might be for Charles Dance...

Written by Sam Bain and Jesse Armstrong (Peep Show, The Thick of It) and boasting a pedigree cast, which includes Reece Shearsmith, Darren Boyd and Rosie Cavaliero, the second in this commendable comic endeavour doesn't quite deliver the laughs you might expect. The tale of a houseshare in Victorian London, it is silly and clever and marvellously parodies the conventions, characters and cliches of Victorian fiction. With relatives on deathbeds, frustrated spinsters only occupied with embroidery and ebullient doctors, it provides some smirks but there are no laugh-out-loud moments.

Jam and Jerusalem is distractingly top-heavy with star turns. Appearing in Jennifer Saunders' new sitcom is clearly a prestige gig for an actor, so much so that Hywel Bennett can be recruited for the sole purpose of being killed off and getting the plot moving.

Sue Johnstone stars as grieving widow Sal, forced by bereavement and redundancy into the companionable embrace of the local Women's Institute. Cue a host of comedy cameos from people accustomed to having their own shows.

My inclination is to despise Jam and Jerusalem, like Chelsea FC, for greedily snapping up all the available talent. However, like Chelsea FC, the show is rather successful. Saunders' script is poignant and amusing - there was even a moment of comic genius featuring a false arm - the characters just the right side of eccentric and the starry cast certainly deliver the goods. My favourite performance was Rosie Cavaliero's bereavement counsellor, gently admonishing Sal for processing her feelings of grief in entirely the wrong order.

Two main gripes. First, how come Sal was completely composed and unaffected by her husband's funeral? Second, what is Dawn French doing? Everyone else in the cast has adopted a naturalistic acting style, whereas French has opted for a more panto approach in playing the village idiot.