Doon Mackichan stars as the proprietor of a down-market hair salon in the promising new comedy Quick Cuts. It's not the most original idea in the world for a sitcom, but it is a robust one, with the turnover of customers giving you all kinds of opportunity for comic interludes that are a break from the ensemble dynamic ("Do you ever worry that you might be the anti-Christ," asked one pensive punter).

And it has a very good cast, including Lucinda Dryzek as Becks, the resident airhead and Jessica Gunning as a staff member trying to break a long sexual drought. It's described as semi-improvised in the Radio Times. I do hope that one of the improvised moments was when Mackichan sheared a clean swathe through the hair of her errant boyfriend, Trevor - a genuinely unexpected sight-gag. But if so, Paul Reynolds deserves some kind of medal for staying in character.

This new sitcom comes from the same writing team that gave us The Worst Week Of My Life, but despite a cast which includes Ricky Tomlinson as the local pub landlord, Great Night Out offers more gentle and much more obvious laughs.

Set in Stockport, it's a male bonding comedy about four ­life-long friends and Stockport County supporters played by William Ash, Lee Boardman, Craig Parkinson and Stephen Walters.

Their not-so-great night out this week finds them in Manchester's posh Midland Hotel attempting to celebrate the fifth wedding ­anniversary of their unofficial leader, Hodge.

The cast, which also includes Susie Blake and Isy Suttie in peripheral roles as well as Jessica Gunning as the Friend From Hell, should provide plenty of material for more misadventures each week. But when the biggest laughs of the episode go not to any of the leads but to a character billed only as Train Attendant, then ­something's gone a bit wrong somewhere.

Great Night Out is a comedy drama about four thirtysomething mates from Stockport, whose principal interests are football, banter, women and the pub. That is also about as deep as their characterisation goes, leaving the quartet looking for all the world like stereotypes in search of a lager advert to occupy.

Episode 1 ambles along inoffensively enough, neatly interweaving a trio of plots concerning salsa classes, an anniversary celebration and a runaway groom on a London-bound train, but despite several winning performances I never really engaged or identified with any of the main characters.

This was a problem further compounded by two scene-stealing cameos from Jessica Gunning and Alex Lowe, as an obnoxiously insensitive party crasher and an endearingly bizarre Lancashire salsa teacher respectively. The characters charged with actually carrying the series looked very dull by comparison.

Great Night Out has so far provided nothing more than an okay night in, but things may improve as the series settles into its run. A few more laughs certainly wouldn't go amiss.

Julia Davis is certainly no stranger to black comedy, having already appeared in twisted shows like Human Remains and Nighty Night, but it's a little surprising to see Spaced's Jessica Hynes (nee Stephenson) partnering her to write and star in a black-hearted tale of suburban revenge...

Lizzie (Davis) and Sarah (Hynes) are two fiftysomething housewives living in suburbia, both married to loathsome husbands who treat them with callous disregard and sneering contempt. Lizzie's husband John (David Cann) is having an obvious affair with their corpulent, lazy housekeeper Branita (Jessica Gunning); Sarah's husband Michael (Mark Heap) has taken to having meaningless, functional sex with her while he hides her face behind a pillow. Both introverted women are cowed into submission and have allowed themselves to accept their lot in life, as unloved slaves whose only escape from tedium and bullying is an amateur dramatics society. However, after a day of particularly unforgiveable treatment by their other halves, Lizzie and Sarah find themselves pushed to breaking point and, having come into possession of a handgun, decide to enact their revenge...

Lizzie And Sarah is of a particular style and content that many people just won't find particularly funny, that much is certain. Indeed, the BBC were allegedly so dumbfounded by this pilot's depressing tone that they scheduled it for a Saturday night graveyard slot of 11.55pm, so the chance of a full series doesn't look likely. If one is even necessary, as the story appeared to reach enough of a conclusion that I can't imagine what else Lizzie And Sarah would have to say. It was effectively 15-minutes of matrimonial bullying that segwayed into a domestic revenge scenario that lacked imagination because it was basically comprised of shooting their psychological aggressors dead with a gun they'd stolen from a thief.

The titular characters themselves were interchangeable; having no meaningful differences in temperament, accent, lifestyle, or taste in men. Their horrid husbands were likewise peas in a particularly odious pod. A subplot involving a memorial for a girl ran over by her own father's (Kevin Eldon) car, which inspired a musical memorial performed by two teenage classmates (Davis and Hynes), who gyrated to the Sugababes' Hey Sexy for the approval of a talent scout in the crowd, just felt misplaced and could have been cut entirely.

As a fan of Davis, Hynes and black comedy in general (which nobody does quite like us British), Lizzie And Sarah certainly had decent moments of chilling humour, uncomfortable bad taste, and jokes so near the knuckle they drew blood. However, a feeble storyline, near-identical characterisation for the leads, and unimaginative vengeance (just shoot the browbeaters), dealt enough blows to make this pilot feel like a wasted opportunity. I'd like to believe Davis and Hynes knew there'd be little hope of a full series, so opted to complete their story here, because I don't see any reason or need for more.