Lee Mack is a fast talker. If you’ve ever watched him on Would I Lie to You?, you know he processes jokes at a speed that feels almost dangerous. But his magnum opus isn't a panel show riff. It is a sitcom. A very old-school, gag-heavy, multi-cam sitcom called Not Going Out.
It shouldn't still be here. Truly.
Think about the landscape of British comedy since 2006. We’ve seen the rise and fall of "cringe" comedy, the era of the high-concept dramedy, and the shift toward streaming services that bury traditional laugh-track shows under a mountain of gritty reboots. Yet, the Not Going Out tv programme persists. It has outlasted three Prime Ministers, several economic collapses, and the transition from cathode-ray tubes to 4K OLED screens.
The Evolution of Lee and Lucy
Originally, the show was basically a "will-they-won't-they" about a lazy, lovable loser named Lee and his posh American flatmate, Kate (played by Megan Dodds). When Dodds left after the first series, Sally Bretton stepped in as Lucy. That was the pivot point. The chemistry changed. It became sharper. The show wasn't just about Lee being a layabout; it became a verbal tennis match where the jokes per minute (JPM) count was higher than almost anything else on the BBC.
Eventually, they did the unthinkable. They let them get married.
Most sitcoms die the second the leads tie the knot. It’s the "Moonlighting Curse." Once the tension is gone, the plot evaporates. But Mack and his writing team—which has included brilliant minds like Andrew Collins and Daniel Peak—did something clever. They jumped the timeline forward. They turned the Not Going Out tv programme into a family sitcom. Suddenly, we had kids. We had the crushing reality of suburban middle age.
It worked because the jokes didn't get soft. Lee Mack’s comedy isn't about deep emotional growth or avant-garde structure. It’s about the pun. It’s about the misunderstanding. It’s about a man getting stuck in a loft or accidentally buying a stolen car because he’s too stubborn to admit he’s wrong.
Why the Studio Audience Matters (Even Now)
A lot of people hate laugh tracks. "Don't tell me when to laugh," they say. They find it intrusive.
But Not Going Out is recorded in front of a live audience at Teddington or Pinewood Studios. It’s theatrical. When you watch Lee Mack perform, you’re watching a stand-up comedian use the sitcom format as a delivery vehicle for one-liners. It’s a dying art form. Shows like The Office or Peep Show changed the game by being "naturalistic," but there is something deeply comforting about a show that admits it's a show.
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There is no pretense here.
The sets look like sets. The lighting is bright. The physical comedy is broad—Lee falling out of windows, Lee getting hit in the face, Lee hiding in a kitchen cupboard. It’s vaudeville for the digital age. Honestly, in a world where every comedy feels like it’s trying to make you cry or teach you a lesson about the human condition, sometimes you just want to see a man struggle with a flat-pack wardrobe for thirty minutes.
The Supporting Cast: The Secret Sauce
You can't talk about this show without mentioning Bobby Ball.
Bobby played Lee’s father, Frank. He was a force of nature. Frank was a terminal disappointment—a man who would show up unannounced, ruin a dinner party, and leave Lee with the bill. When Bobby Ball passed away in 2020, there was a genuine fear that the show would lose its chaotic heartbeat. His comic timing was impeccable. He brought a "Northern club" energy that perfectly balanced Sally Bretton’s "Southern poise."
Then you have Toby and Anna, the neighbors. Hugh Dennis and Abigail Cruttenden play the most miserably married couple in the history of television. They are the dark mirror to Lee and Lucy. While Lee and Lucy are chaotic but loving, Toby and Anna seem to actively despise one another.
- Toby is a doctor who is constantly on the verge of a nervous breakdown.
- Anna is a cynical, wine-swilling aristocrat who views Lee as a biological curiosity.
- Their banter provides the "cringe" element that the main couple lacks.
It’s a classic sitcom trope: the foil. Without Toby and Anna to look down on him, Lee’s antics would just be sad. But compared to Toby’s repressed misery, Lee’s life looks pretty great.
The Writing Process is Brutal
Lee Mack is a perfectionist. He has gone on record saying that they will spend hours—days, even—honing a single line to make sure the rhythm is right. British sitcoms usually have small writing rooms. Sometimes it’s just one or two people. For the Not Going Out tv programme, the focus is purely on the gag.
If a joke doesn't land during the live filming, Mack has been known to stop the recording and rewrite it on the spot with the writers while the audience waits. That’s why it feels so tight. There is no fat on the script.
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Compare this to modern "improv-heavy" comedies. Improv is great for character, but it’s often baggy. Not Going Out is the opposite of baggy. It is a Swiss watch of wordplay. It relies on the English language being inherently ridiculous.
Does it Hold Up in 2026?
We are currently in an era where "comfort watching" is the dominant trend. People are tired. They want something they can put on at 9:00 PM on a Friday that doesn't require them to remember three seasons of lore or have a degree in sociology.
That is the genius of the Not Going Out tv programme.
It’s episodic. You can jump in at Series 5 or Series 11 and you’ll get the gist within two minutes. Lee is an idiot, Lucy is the sensible one, and something is currently on fire. It’s the TV equivalent of a warm blanket. But a blanket made of barbed wire and puns.
Some critics argue it’s "dated." They say the gender roles are old-fashioned. They aren't entirely wrong. The dynamic of the "hapless husband" and "long-suffering wife" is as old as The Honeymooners. But Mack subverts it by making Lucy just as sharp as Lee. She isn't a victim of his stupidity; she’s an active participant in the madness. She often out-quips him. That’s the key. If she were just a nag, the show would be unwatchable. Instead, she’s the only person who can keep up with him.
The Live Episode and Technical Risks
In 2018, they did a live episode. This wasn't a "live-to-tape" situation. It was a proper, high-wire act broadcast to millions in real-time. Most shows do this as a gimmick. For Not Going Out, it felt like the natural conclusion of their style.
The plot involved a school sponsored jump. It was chaotic. There were flubbed lines, there was corpsing (where the actors can't stop laughing), and it was some of the best television the BBC has produced in years. It showed the raw talent of the cast. You realize that Lee Mack isn't just "playing" a character; he is performing a highly choreographed piece of comedic theatre.
How to Watch and Where to Start
If you’re new to the show, don't start at the very beginning. The first series is a bit of a "pilot" season that’s trying to find its feet.
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- Start with Series 3. This is where the Lucy/Lee dynamic really solidifies. The episode "Absent Father" is a masterclass in sitcom structure.
- Watch the Christmas Specials. The show treats Christmas specials like mini-movies. They often have higher stakes and bigger guest stars.
- The "Hitchcock" Episode. Look for the episode "Movie," which is filmed in one continuous take (or looks like it). It’s a technical marvel.
- The Jump to Series 8. This is the "time jump" where they have three kids. It’s a different show, but just as funny.
The Legacy of the Sitcom
What is the legacy of the Not Going Out tv programme?
It’s the survival of the gag. In a world where "comedy" often means "sad people staring out of windows in the rain," Lee Mack has kept the torch burning for the joke. He proves that you can be clever without being "prestige." You can be mass-market without being dumb.
It is one of the longest-running British sitcoms for a reason. It doesn't try to be anything other than funny. It respects the audience’s time by packing every second with effort. Whether it's a visual gag involving a giant hamster ball or a complex play on words about a local bowls club, the effort is visible.
Your Next Steps for a Deep Dive
If you want to truly appreciate the craftsmanship behind the show, your next move should be to watch some of the "behind the scenes" footage or Lee Mack’s interviews regarding the writing process.
Specifically, look for his appearances on the Richard Herring's Leicester Square Theatre Podcast (RHLSTP). He goes deep into the mechanics of the writing room. It will change the way you watch the show. You stop seeing it as a light comedy and start seeing it as a mathematical puzzle.
Go back and re-watch the early episodes with Tim Vine (who played Lucy’s brother and Lee’s best friend). The pun-offs between Mack and Vine are legendary. They are two of the best one-liner comics in the world, and seeing them compete in a scripted environment is a joy.
Finally, check the BBC iPlayer or your local streaming equivalent for the most recent specials. Even after a hundred episodes, the quality hasn't dipped as much as you’d expect. The show remains a testament to the idea that if you write good jokes, people will keep showing up.
Stop looking for the "meaning" in everything. Just sit down, turn off your brain's "critically acclaimed drama" filter, and enjoy the puns.