For 40 years, Saturday Night Live has been a cultural institution, a launching pad for some of the most original and successful minds in comedy. Through thick and thin, the show has been a constant source of stability for tv viewers, and for better or worse, it has always remained must-watch television for its ability to completely evolve and shift with the times.
In honor of such a milestone, this aspiring writer has taken upon him the daunting task of maintaining a blog dedicated to the show, its history, and the current season.
50) Patriotic Thong (Scott 10.6.2001)
Will Ferrell has probably never learned what dignity means, and for that we are eternally grateful. Perhaps no sketch better exemplifies the lengths to which the seven-year veteran would go to get a laugh, and with the wounds of September 11 still all too fresh in the minds of NYC, he never had to try harder than he did here, attempting to draw laughs from the low brow premise of a man who comes to work wearing nothing more than a star spangled man-thong after being advised by his boss that the staff should wear something patriotic. Less finessed performers couldn't pull this off, but that's because not every performer has Ferrell's knack for making comedy unpredictable and just a little dangerous. The result is an endlessly entertaining high-wire act that Ferrell trots across gracefully and hilariously - and without his sack popping out on air - allowing it to stand alongside the creme de le creme of his SNL output.
Will Ferrell has probably never learned what dignity means, and for that we are eternally grateful. Perhaps no sketch better exemplifies the lengths to which the seven-year veteran would go to get a laugh, and with the wounds of September 11 still all too fresh in the minds of NYC, he never had to try harder than he did here, attempting to draw laughs from the low brow premise of a man who comes to work wearing nothing more than a star spangled man-thong after being advised by his boss that the staff should wear something patriotic. Less finessed performers couldn't pull this off, but that's because not every performer has Ferrell's knack for making comedy unpredictable and just a little dangerous. The result is an endlessly entertaining high-wire act that Ferrell trots across gracefully and hilariously - and without his sack popping out on air - allowing it to stand alongside the creme de le creme of his SNL output.
49) Star Trek Convention (Shatner 12.20.1986)
Just what makes this sketch a classic? Is it Shatner's famous 'Get a Life' speech to a crowd of excited Trekkies hoping their hero is just as noble in person as on the tube? Is it Jon Lovitz's forlorn reaction when asked if he has ever kissed a girl? Or is it the subtle moral of 'don't bite the hand that feeds you,' a moral punctuated by Phil Hartman angrily waving a contract in Shatner's face, thereby turning the sketch up to that point on its ear and making Shatner's own career its real punchline? The answer: it's all three.
Just what makes this sketch a classic? Is it Shatner's famous 'Get a Life' speech to a crowd of excited Trekkies hoping their hero is just as noble in person as on the tube? Is it Jon Lovitz's forlorn reaction when asked if he has ever kissed a girl? Or is it the subtle moral of 'don't bite the hand that feeds you,' a moral punctuated by Phil Hartman angrily waving a contract in Shatner's face, thereby turning the sketch up to that point on its ear and making Shatner's own career its real punchline? The answer: it's all three.
Probably SNL's biggest viral hit, this yuletide Digital Short works on so many levels - as a subtle commentary on the over-sexualization of pop music in general, as a dead-on parody of 1990s' R&B cheesiness, but mostly as good a proof as any that Andy Samberg, for all his doofiness, was a master of selling the simplest of concepts by pushing them to the most absurd levels and ending them at just the right time. Oh, and it was here that we officially learned that Justin Timberlake was a formidable comedic presence and not a merely a 'ratings grabber' host meant for tween viewers.
47) Awkward Carpool (Baldwin 11.11.2006)
Before the dawn of Gilly, Penelope and a thousand other spastic, hyper-verbal one-note characters, Kristen Wiig was a master of low-key, awkward humor and none exemplify that finely honed talent than this sketch. For about two minutes, you don't know where this sketch is going, and you think it's going to be a forgettable piece about two co-workers struggling to communicate during the awkward task of carpooling on the way to work. Then Alec Baldwin mentions that he believes in Bigfoot, and it immediately becomes one of the great 'escalation' sketches, where each punchline exists for the sole purpose of topping the next one, and each succeeds, leading up to a devastating A-bomb-like shattering of every perception you've ever had about Bobby McFerrin.
Before the dawn of Gilly, Penelope and a thousand other spastic, hyper-verbal one-note characters, Kristen Wiig was a master of low-key, awkward humor and none exemplify that finely honed talent than this sketch. For about two minutes, you don't know where this sketch is going, and you think it's going to be a forgettable piece about two co-workers struggling to communicate during the awkward task of carpooling on the way to work. Then Alec Baldwin mentions that he believes in Bigfoot, and it immediately becomes one of the great 'escalation' sketches, where each punchline exists for the sole purpose of topping the next one, and each succeeds, leading up to a devastating A-bomb-like shattering of every perception you've ever had about Bobby McFerrin.
46) Perot & Stockdale (Walken 10.24.1992)
You'd be hard pressed to make Dana Carvey's maniacal take on political fly in the ointment Ross Perot the more reasoned character in any sketch, but through a stroke of fortune, the Texas billionaire chose the borderline senile Admiral James Stockdale to be his running during his infamous campaign, and the rest is history. Stockdale's spacey performance during the Vice Presidential debate - during which he wandered over to Al Gore's podium, fell asleep and bellowed a series of bizarre non-sequitors with seemingly no reference point - was just waiting to be parodied, and SNL quickly jumped on it. The best part about this Of Mice and Men-esque take on the relationship is that it gives Phil Hartman the chance to truly jump out of his element - if he even had one, as Jack Handey wonderfully illustrates in his tribute to him - and play such an off the wall character that goes against the 'voice of the reason' types he was often saddled with. He has a blast with the opportunity, and gives one of the finest performances in his glorious eight year tenure.
You'd be hard pressed to make Dana Carvey's maniacal take on political fly in the ointment Ross Perot the more reasoned character in any sketch, but through a stroke of fortune, the Texas billionaire chose the borderline senile Admiral James Stockdale to be his running during his infamous campaign, and the rest is history. Stockdale's spacey performance during the Vice Presidential debate - during which he wandered over to Al Gore's podium, fell asleep and bellowed a series of bizarre non-sequitors with seemingly no reference point - was just waiting to be parodied, and SNL quickly jumped on it. The best part about this Of Mice and Men-esque take on the relationship is that it gives Phil Hartman the chance to truly jump out of his element - if he even had one, as Jack Handey wonderfully illustrates in his tribute to him - and play such an off the wall character that goes against the 'voice of the reason' types he was often saddled with. He has a blast with the opportunity, and gives one of the finest performances in his glorious eight year tenure.
45) Ask Carter (Spacek 3.12.1977)
Since Chase's Ford deliberately made no intention of capturing the 38th president's look or voice and was solely a vehicle for Chase's effortless pratfalls, Aykroyd's Jimmy Carter was the first true lampoon of a sitting president in the show's history. In this send-up of Carter's nice-guy image, Walter Cronkite (an equally great Bill Murray) holds a Q & A with the president where viewers call in and ask the president questions about pressing issues. However, Carter's knowledge and willingness to help anyone and everyone go beyond political matters, as he carefully (and hilariously) helps a caller come down from a particularly harrowing acid trap, humorously suggesting, among other things, to listen to some Allman Brothers records.
Since Chase's Ford deliberately made no intention of capturing the 38th president's look or voice and was solely a vehicle for Chase's effortless pratfalls, Aykroyd's Jimmy Carter was the first true lampoon of a sitting president in the show's history. In this send-up of Carter's nice-guy image, Walter Cronkite (an equally great Bill Murray) holds a Q & A with the president where viewers call in and ask the president questions about pressing issues. However, Carter's knowledge and willingness to help anyone and everyone go beyond political matters, as he carefully (and hilariously) helps a caller come down from a particularly harrowing acid trap, humorously suggesting, among other things, to listen to some Allman Brothers records.
44) Schmitt’s Gay (Jordan 9.28.1991)
One of SNL’s most memorable commercial parodies, this was also one of the first pieces to showcase the chemistry between Adam Sandler and Chris Farley, who would go on to usher in a whole new era of SNL known as the ‘Bad Boy’ era. Their pieces weren’t the sophisticated to ever air on SNL, but they were always creative and energetic and provided the perfect contrast to the higher end humor from the likes of Hartman and Carvey. This ad is also fantastic satire, parodying the ‘girls on the beach fantasy’ motif that appeared in just about every beer ad in the early 1990s’ by putting a homoerotic twist on it. Gay humor is something SNL hasn’t always done well, but here they pulled it off by lampooning macho posturing and having Sandler and Farley play their roles without effeminate mannerisms or any other overused, stereotypical tropes. They’re just two dudes who happen to enjoy good beer and men in g-strings.
43) Buckwheat’s Death Pts. 1 & 2 (Dern 3.12.1983 / Guillaume 3.19.1983)
The Dick Ebersol era rarely did satire well, choosing mainly to focus on straightforward character pieces, and usually they were Eddie Murphy characters. Fed up with the attention Buckwheat had been getting, Murphy broached the idea to kill him off, using it as the launching pad for a biting commentary on the increasing presence of violence in the media. Coming just under three years after John Lennon’s tragic death, this is a hilariously dark piece, with a brilliant performance by Murphy as Buckwheat as well as his assassin, John David Stutts (who also gets shot, Lee Harvey Oswald style). Credit must also go to Joe Piscopo as Ted Koppel, who provides just as much laughs with his deadpan eagerness to continually show clips of the shooting.
The Dick Ebersol era rarely did satire well, choosing mainly to focus on straightforward character pieces, and usually they were Eddie Murphy characters. Fed up with the attention Buckwheat had been getting, Murphy broached the idea to kill him off, using it as the launching pad for a biting commentary on the increasing presence of violence in the media. Coming just under three years after John Lennon’s tragic death, this is a hilariously dark piece, with a brilliant performance by Murphy as Buckwheat as well as his assassin, John David Stutts (who also gets shot, Lee Harvey Oswald style). Credit must also go to Joe Piscopo as Ted Koppel, who provides just as much laughs with his deadpan eagerness to continually show clips of the shooting.
42) Colonel Angus (Walken 2.22.2003)
Like Shweddy Balls before it, this sketch takes a hopelessly juvenile pun (though one on paper that was at least more 'adult' in its connotations than that previous sketch) and built a surprisingly sharp, unpredictably clever and endlessly hilarious sketch around it. Like Shweddy Balls, it helps that every performer in this piece plays it straight, without succumbing to child-like snickers each time a punchline is delivered at the expense of its title character, played by none other than Christopher Walken, in a rare role that doesn't rely on him amping up his most deranged qualities. It also serves as a subtle critique on differing sexual attitudes, a more refined plain that Shweddy Balls didn't quite ascend to.
Like Shweddy Balls before it, this sketch takes a hopelessly juvenile pun (though one on paper that was at least more 'adult' in its connotations than that previous sketch) and built a surprisingly sharp, unpredictably clever and endlessly hilarious sketch around it. Like Shweddy Balls, it helps that every performer in this piece plays it straight, without succumbing to child-like snickers each time a punchline is delivered at the expense of its title character, played by none other than Christopher Walken, in a rare role that doesn't rely on him amping up his most deranged qualities. It also serves as a subtle critique on differing sexual attitudes, a more refined plain that Shweddy Balls didn't quite ascend to.
41) Fred Garvin, Male Prostitute (Kidder 3.17.1979)
When I first saw this, I didn't think it was funny. It wasn't until I watched it from a more mature perspective that I realized it wasn't supposed to be, and not everything SNL does is supposed to be uproarious. This is a great dramedy piece with a fantastic Dan Aykroyd performance holding it all together, as he draws a great deal of sympathy to what is ultimately a completely pathetic character. And of course, there's more than a few great laughs, from Aykroyd's hilarious gestures as he tries seduce host Margot Kidder to Garrett randomly appearing as Aykroyd's pimp. One of the great low-key SNL pieces of all time.
When I first saw this, I didn't think it was funny. It wasn't until I watched it from a more mature perspective that I realized it wasn't supposed to be, and not everything SNL does is supposed to be uproarious. This is a great dramedy piece with a fantastic Dan Aykroyd performance holding it all together, as he draws a great deal of sympathy to what is ultimately a completely pathetic character. And of course, there's more than a few great laughs, from Aykroyd's hilarious gestures as he tries seduce host Margot Kidder to Garrett randomly appearing as Aykroyd's pimp. One of the great low-key SNL pieces of all time.
40. Carsenio (Wendt 5.18.1991)
A brilliant idea made even better in execution. As an increasingly out of touch Johnny Carson, Dana Carvey apes the “Tonight Show” giant as well as Arsenio Hall with equal brilliance; Carson’s desperate attempts at appealing to an urban audience are priceless, such as his use of modern dialect like ‘crib’ and ‘posse’ and his surgery to elongate his finger. Bonus points go to George Wendt as he tries to convince Johnny that he doesn’t need to change to remain beloved, and that he's just trying to appease 'morons.' Hartman as a boisterous Ed McMahon is also worth noting. Yes!
A brilliant idea made even better in execution. As an increasingly out of touch Johnny Carson, Dana Carvey apes the “Tonight Show” giant as well as Arsenio Hall with equal brilliance; Carson’s desperate attempts at appealing to an urban audience are priceless, such as his use of modern dialect like ‘crib’ and ‘posse’ and his surgery to elongate his finger. Bonus points go to George Wendt as he tries to convince Johnny that he doesn’t need to change to remain beloved, and that he's just trying to appease 'morons.' Hartman as a boisterous Ed McMahon is also worth noting. Yes!
39. Festrunk Brothers (Martin 4.22.1978)
The Czechoslovakian brothers Georg and Yortunk (Martin and Aykroyd) were a regular staple during Martin's hosting gigs in the first four years of the show, but this is their most famous installment. It was here that the formula for the characters (their over-exaggerated accents, comical way of walking, 'tight bulges,' and their complete obliviousness to how ridiculous they actually were) was perfected. As they await for the arrival of the 'foxes' they met earlier in the day (Laraine and Gilda), their American buddy Cliff (the ever underrate Garrett Morris) slowly deconstructs everything they think makes them desirable, leading to the hilarious gag of them doing a forlorn, Charlie Brown-esque version of their famous walk. Of course, the foxes do make good on their word (they were just out picking up their birth control at the Statue of Liberty), and Cliff is utterly dumbfounded by what has transpired. This sketch was in many ways the prototype for the Roxbury Guys (Aykroyd and Martin even revived the characters in a Roxbury sketch from 1998), and still remains the sharper and more fleshed out of the two.
The Czechoslovakian brothers Georg and Yortunk (Martin and Aykroyd) were a regular staple during Martin's hosting gigs in the first four years of the show, but this is their most famous installment. It was here that the formula for the characters (their over-exaggerated accents, comical way of walking, 'tight bulges,' and their complete obliviousness to how ridiculous they actually were) was perfected. As they await for the arrival of the 'foxes' they met earlier in the day (Laraine and Gilda), their American buddy Cliff (the ever underrate Garrett Morris) slowly deconstructs everything they think makes them desirable, leading to the hilarious gag of them doing a forlorn, Charlie Brown-esque version of their famous walk. Of course, the foxes do make good on their word (they were just out picking up their birth control at the Statue of Liberty), and Cliff is utterly dumbfounded by what has transpired. This sketch was in many ways the prototype for the Roxbury Guys (Aykroyd and Martin even revived the characters in a Roxbury sketch from 1998), and still remains the sharper and more fleshed out of the two.
38. Choppin’ Broccoli (Weaver 10.11.1986)
Dana Carvey (and the rest of the cast) hit the ground running from his very first episode. He had already starred in two instant classics (the first Church Lady and the game show psychic) by the time this went on, and if those first two were just luck, this was the one that showed Dana was truly a force to be reckoned with. As British songwriter Dennis Stevens, his full throttle commitment to selling such a ridiculous song displayed the type of energy and creativity the show had sorely been lacking the previous year when Lorne Michaels first returned to dismal ratings and an uneven cast. It was here that the phoenix truly rose from the ashes, and it flew high for seven straight years.
Dana Carvey (and the rest of the cast) hit the ground running from his very first episode. He had already starred in two instant classics (the first Church Lady and the game show psychic) by the time this went on, and if those first two were just luck, this was the one that showed Dana was truly a force to be reckoned with. As British songwriter Dennis Stevens, his full throttle commitment to selling such a ridiculous song displayed the type of energy and creativity the show had sorely been lacking the previous year when Lorne Michaels first returned to dismal ratings and an uneven cast. It was here that the phoenix truly rose from the ashes, and it flew high for seven straight years.
37. Samurai Stockbroker (Henry 10.30.1976)
SNL’s original Bad Boy, John Belushi, was the show’s first true risk taker, challenging the conventions of traditional television comedy with some of the most bizarre, daring characters in the show’s history. His out of control, sword wielding entrepreneur Samurai Futaba held a variety of jobs throughout his many appearances, from baker to sandwich maker to psychiatrist, but this particular edition is probably the most well remembered, as Belushi’s boldness as a performer came at the expense of host Buck Henry, who emerged from the sketch with a fresh wound on his forehead and sported the bandage for the rest of the evening. It is perhaps the best example of the unpredictable, ‘anything can happen’ nature of the show’s live format.
SNL’s original Bad Boy, John Belushi, was the show’s first true risk taker, challenging the conventions of traditional television comedy with some of the most bizarre, daring characters in the show’s history. His out of control, sword wielding entrepreneur Samurai Futaba held a variety of jobs throughout his many appearances, from baker to sandwich maker to psychiatrist, but this particular edition is probably the most well remembered, as Belushi’s boldness as a performer came at the expense of host Buck Henry, who emerged from the sketch with a fresh wound on his forehead and sported the bandage for the rest of the evening. It is perhaps the best example of the unpredictable, ‘anything can happen’ nature of the show’s live format.
36. A Bi-Partisan Message from Hillary Clinton & Sarah Palin (Phelps 9.13.2008)
The 2008-09 season remains the last truly strong SNL season to date, and it kicked off with this masterpiece of bi-partisan satire, skewering with equal relish the stodginess of Clinton and the cluelessness of Palin. While the writing was deft, the sketch would not have come so alive if it weren't for Amy Poehler and Tina Fey, who managed to channel their well honed chemistry to convey the real life tension that no doubt existed between the two fair-weather candidates. Many great sketches followed in this vein throughout the first half of the year, but this remains the most significant in that truly reestablished SNL's satirical edge after the lackluster 2004 season brought little to the table.
The 2008-09 season remains the last truly strong SNL season to date, and it kicked off with this masterpiece of bi-partisan satire, skewering with equal relish the stodginess of Clinton and the cluelessness of Palin. While the writing was deft, the sketch would not have come so alive if it weren't for Amy Poehler and Tina Fey, who managed to channel their well honed chemistry to convey the real life tension that no doubt existed between the two fair-weather candidates. Many great sketches followed in this vein throughout the first half of the year, but this remains the most significant in that truly reestablished SNL's satirical edge after the lackluster 2004 season brought little to the table.
35. Mr. Belvedere Fan Club (Hanks 5.9.1992)
A hilariously dark and twisted sketch. Tom Hanks plays the president of the fan club, where he finds that each member has taken their love of the popular character a bit too far. Each cast member gets their moment to shine with their increasingly unnerving devotion to such an obscure object of affection, peaking with Phil Hartman's frightening 'to wear the flesh' edict. One of SNL's greatest ensemble pieces.
A hilariously dark and twisted sketch. Tom Hanks plays the president of the fan club, where he finds that each member has taken their love of the popular character a bit too far. Each cast member gets their moment to shine with their increasingly unnerving devotion to such an obscure object of affection, peaking with Phil Hartman's frightening 'to wear the flesh' edict. One of SNL's greatest ensemble pieces.
33. The Chris Farley Show (Baldwin 2.13.1993)
Chris Farley is remembered mostly as a loud, cocaine fueled force of destruction who burnt out a little too quickly in his five years at SNL. That may be true to a degree, but there's no denying that he knew how to tone it down, and when it did, it showed a different, and perhaps more real side to him. This is perhaps best exemplified in his recurring talk show, where his awkward interviews with various entertainment luminaries revealed his 'aw shucks' demeanor as well as, unfortunately, his devastating insecurity and need to always be 'on.' This allowed the audience to endear themselves to him, and perhaps even empathize with him: how awkward would we be sitting face to face with a Beatle? Probably not as awkward as Farley is here with Paul McCartney, but probably not as funny, either.
Chris Farley is remembered mostly as a loud, cocaine fueled force of destruction who burnt out a little too quickly in his five years at SNL. That may be true to a degree, but there's no denying that he knew how to tone it down, and when it did, it showed a different, and perhaps more real side to him. This is perhaps best exemplified in his recurring talk show, where his awkward interviews with various entertainment luminaries revealed his 'aw shucks' demeanor as well as, unfortunately, his devastating insecurity and need to always be 'on.' This allowed the audience to endear themselves to him, and perhaps even empathize with him: how awkward would we be sitting face to face with a Beatle? Probably not as awkward as Farley is here with Paul McCartney, but probably not as funny, either.
32. Potato Chip Thief (Lively 12.5.2009)
Oh, Will Forte, how I adore thee. Perhaps the most warped comedic mind to tread the boards since Mike O'Donoghue, Forte belongs in the upper echelon of SNL's greatest cast members. Unlike say Ferrell, who managed to parlay his taste for off-the-wall humor into a way that dovetailed into the mainstream without losing his edge, Forte remained a sleeper favorite throughout his eight year tenure, his sketches often tucked away near the end of the show, possibly out of fear of alienating the crowd. His humor isn't for everyone, but it's brilliant and creative and pulls no punches, and no sketch illustrates this utterly insane tale of NASA adviser who loses his shit when a job applicant (Jason Sudeikis) steals one of his 35 delicately placed potato chips. From the over-exagerated Southern accents to Forte jumping on a desk, screaming incoherently until his face resembles an eggplant, to maybe the most unsettling punchline in SNL lore, not one lick of this sketch makes any sense whatsoever, and yet it hangs together beautifully. It's a Jackson Pollack painting in the form of sketch comedy.
Oh, Will Forte, how I adore thee. Perhaps the most warped comedic mind to tread the boards since Mike O'Donoghue, Forte belongs in the upper echelon of SNL's greatest cast members. Unlike say Ferrell, who managed to parlay his taste for off-the-wall humor into a way that dovetailed into the mainstream without losing his edge, Forte remained a sleeper favorite throughout his eight year tenure, his sketches often tucked away near the end of the show, possibly out of fear of alienating the crowd. His humor isn't for everyone, but it's brilliant and creative and pulls no punches, and no sketch illustrates this utterly insane tale of NASA adviser who loses his shit when a job applicant (Jason Sudeikis) steals one of his 35 delicately placed potato chips. From the over-exagerated Southern accents to Forte jumping on a desk, screaming incoherently until his face resembles an eggplant, to maybe the most unsettling punchline in SNL lore, not one lick of this sketch makes any sense whatsoever, and yet it hangs together beautifully. It's a Jackson Pollack painting in the form of sketch comedy.
31. Total Bastard Airlines (Hunt 3.19.1994)
No one does snarky like David Spade. As the head steward to an airline run by prickly people upset with their lot in life, his energy totally carries what is essentially a one-joke premise to great comedic heights, as each of his interactions with various passengers and the subsequent ‘Buh-bye’ send-offs are executed perfectly and hilariously, especially his extended rant to Tim Meadows. Helen Hunt provides decent support, but this is Spade’s baby from start to finish.
No one does snarky like David Spade. As the head steward to an airline run by prickly people upset with their lot in life, his energy totally carries what is essentially a one-joke premise to great comedic heights, as each of his interactions with various passengers and the subsequent ‘Buh-bye’ send-offs are executed perfectly and hilariously, especially his extended rant to Tim Meadows. Helen Hunt provides decent support, but this is Spade’s baby from start to finish.
30. The Last Voyage of the Star Ship Enterprise (Gould 5.29.1976)
The first example of SNL playing with fire in regards to its relationship to NBC, written by none other than the most dastardly brilliant mind to grace the writers' table, National Lampoon legend Michael O'Donoghue. This 11-minute parody is an outstanding piece of satire, both as a commentary of the stuffy, out of touch nature of network executives as well a dead-on lampoon of the original Star Trek itself; Belushi perfectly apes Shatner's trademark overacting tendencies, and Chase is simply brilliant as Spock / Leonard Nimoy, especially when he starts crying about the network taking away his prop ears near the end of the sketch. Props must also go to Dan Aykroyd as McCoy / DeForest Kelley and his delivery of the line, "I'm a doctor, not a tailor!"
The first example of SNL playing with fire in regards to its relationship to NBC, written by none other than the most dastardly brilliant mind to grace the writers' table, National Lampoon legend Michael O'Donoghue. This 11-minute parody is an outstanding piece of satire, both as a commentary of the stuffy, out of touch nature of network executives as well a dead-on lampoon of the original Star Trek itself; Belushi perfectly apes Shatner's trademark overacting tendencies, and Chase is simply brilliant as Spock / Leonard Nimoy, especially when he starts crying about the network taking away his prop ears near the end of the sketch. Props must also go to Dan Aykroyd as McCoy / DeForest Kelley and his delivery of the line, "I'm a doctor, not a tailor!"
29. Celebrity Jeopardy (MacDonald 10.23.1999)
Choosing my favorite Celebrity Jeopardy sketch is almost like choosing your favorite child; there’s not a single one that isn’t absolutely hysterical. This one is probably the most fondly remembered, though, as it includes the well remembered ‘Turd Ferguson’ line from Norm MacDonald’s asinine Burt Reynolds, as well as some of Sean Connery’s most stinging insults towards Alex Trebek’s mother.
Choosing my favorite Celebrity Jeopardy sketch is almost like choosing your favorite child; there’s not a single one that isn’t absolutely hysterical. This one is probably the most fondly remembered, though, as it includes the well remembered ‘Turd Ferguson’ line from Norm MacDonald’s asinine Burt Reynolds, as well as some of Sean Connery’s most stinging insults towards Alex Trebek’s mother.
28. Succinctly Speaking (Simon 12.19.1987)
The beginning of one of the late 1980s’ most popular recurring pieces, Tonto (Jon Lovitz), Tarzan (Kevin Nealon), and Frankenstein (Phil Hartman) appear on a talk show, giving their thoughts on various subjects ranging from bread to the INF Treaty in each of their trademark style of speaking. Midway through, Frankenstein becomes frightened by the idea of fire and it leads to the only time where Phil Hartman absolutely lost it during a sketch. For any regular cast member, this would be considered horribly unprofessional, but Hartman had already established himself as a true utility player and rock solid professional, so to see him lose control like this only elevates the absurdity (and hilarity) of this sketch.
The beginning of one of the late 1980s’ most popular recurring pieces, Tonto (Jon Lovitz), Tarzan (Kevin Nealon), and Frankenstein (Phil Hartman) appear on a talk show, giving their thoughts on various subjects ranging from bread to the INF Treaty in each of their trademark style of speaking. Midway through, Frankenstein becomes frightened by the idea of fire and it leads to the only time where Phil Hartman absolutely lost it during a sketch. For any regular cast member, this would be considered horribly unprofessional, but Hartman had already established himself as a true utility player and rock solid professional, so to see him lose control like this only elevates the absurdity (and hilarity) of this sketch.
27. Wake Up and Smile (Grier 12.9.1995)
One of SNL’s darkest sketches, this was the sketch that proved that the show was heading toward a huge comeback after the dismal 1994-95 season, as this was their most daring, unpredictable material in years. Two talk show hosts (Ferrell and Nancy Walls, aka Mrs. Steve Carell) find themselves slowly losing control after the teleprompter breaks down on the air; the insanity just keeps increasing as the sketch wears on, leading up to the shocking and hilarious reveal of Ferrell beheading the weatherman (host David Allen Grier) with his bare hands. It was here we knew everything was going to be okay and that the show could finally move beyond using Chris Farley's ass as a punchline.
One of SNL’s darkest sketches, this was the sketch that proved that the show was heading toward a huge comeback after the dismal 1994-95 season, as this was their most daring, unpredictable material in years. Two talk show hosts (Ferrell and Nancy Walls, aka Mrs. Steve Carell) find themselves slowly losing control after the teleprompter breaks down on the air; the insanity just keeps increasing as the sketch wears on, leading up to the shocking and hilarious reveal of Ferrell beheading the weatherman (host David Allen Grier) with his bare hands. It was here we knew everything was going to be okay and that the show could finally move beyond using Chris Farley's ass as a punchline.
26. Palm Beach (Kilmer 12.9.2000)
The 2000 election was a true blessing for the writers, as the bumbling George W. Bush and the aloof, charismatically challenged Al Gore both provided endless possibilities. In one of their sharpest and most original political spoofs in the show's history, this sketch takes the infamous drama of the 2000 recount and places it in the realm most appropriate: a soap opera parody. Ferrell, of course, scores some huge laughs as Dubya, especially when he's playing with a ball of yarn while everyone else dramatically overreacts to the madness of the recount, but special credit must go to the ever underrated Ana Gasteyer, whose sobbing Katherine Harris is one of the great unsung impressions in SNL lore.
The 2000 election was a true blessing for the writers, as the bumbling George W. Bush and the aloof, charismatically challenged Al Gore both provided endless possibilities. In one of their sharpest and most original political spoofs in the show's history, this sketch takes the infamous drama of the 2000 recount and places it in the realm most appropriate: a soap opera parody. Ferrell, of course, scores some huge laughs as Dubya, especially when he's playing with a ball of yarn while everyone else dramatically overreacts to the madness of the recount, but special credit must go to the ever underrated Ana Gasteyer, whose sobbing Katherine Harris is one of the great unsung impressions in SNL lore.
25. Buckwheat Sings (Saint James 10.10.1981)
Jean Doumanian's 1980-81 season is one of the most notoriously lambasted seasons in SNL's 40 year history. For all its tasteless sketches, lackluster writing, and uneven cast, perhaps the season's biggest mistake was not immediately realizing the promise shown by Eddie Murphy. Thankfully, Dick Ebersol stepped in and immediately saw that Murphy had everything needed to carry the show, and by the time the next season began, Murphy was the star of the show, with his dastardly grown up take on the mush mouthed Little Rascal Buckwheat being perhaps his most beloved creation of all. This first installment was probably the best one, thanks to it being completely fresh and one of the most creative and daring sketches the show had done since the original cast left at the end of the 1979-80 season. From 'Fee Tines a Mady' to 'Wookin' Panub' to 'Meddy Dabid Eyes,' there's not a single moment of this sketch that isn't absolutely classic.
Jean Doumanian's 1980-81 season is one of the most notoriously lambasted seasons in SNL's 40 year history. For all its tasteless sketches, lackluster writing, and uneven cast, perhaps the season's biggest mistake was not immediately realizing the promise shown by Eddie Murphy. Thankfully, Dick Ebersol stepped in and immediately saw that Murphy had everything needed to carry the show, and by the time the next season began, Murphy was the star of the show, with his dastardly grown up take on the mush mouthed Little Rascal Buckwheat being perhaps his most beloved creation of all. This first installment was probably the best one, thanks to it being completely fresh and one of the most creative and daring sketches the show had done since the original cast left at the end of the 1979-80 season. From 'Fee Tines a Mady' to 'Wookin' Panub' to 'Meddy Dabid Eyes,' there's not a single moment of this sketch that isn't absolutely classic.
24. Bill Brasky’s Buddies (Baldwin 12.12.1998)
One of my all time favorite recurring sketches, all the Bill Brasky’s were hilarious but this one was by far the best, featuring three performers at the very top of their game: Will Ferrell, Baldwin and John Goodman. This one has all the best Brasky facts (“He gave a hand job to a manna ray!”), and random non-sequitors like “I masturbate to the Teletubbies” and “Every morning I crap the bed” will never not be hilarious. To Bill Brasky!
One of my all time favorite recurring sketches, all the Bill Brasky’s were hilarious but this one was by far the best, featuring three performers at the very top of their game: Will Ferrell, Baldwin and John Goodman. This one has all the best Brasky facts (“He gave a hand job to a manna ray!”), and random non-sequitors like “I masturbate to the Teletubbies” and “Every morning I crap the bed” will never not be hilarious. To Bill Brasky!
23. Bass-O-Matic ’76 (Nessen 4.17.1976)
Probably the first great SNL commercial parody, this is hilariously disgusting and features Aykroyd at his energetic best. Larraine Newman’s delivery of “That’s good bass!” is just the icing on the cake. I still wonder what the actual liquid in there was.
Probably the first great SNL commercial parody, this is hilariously disgusting and features Aykroyd at his energetic best. Larraine Newman’s delivery of “That’s good bass!” is just the icing on the cake. I still wonder what the actual liquid in there was.
22. Neil Diamond: Storytellers (Goodman 2.7.1998)
One of Will Ferrell’s absolute best (and yet it was never included on any of his three 'best of' collections). Portraying the smooth voiced balladeer as a drug addled, racist, verbally abusive train wreck was a stroke of genius, and every line Ferrell has is hilarious. It's here we learn that "Sweet Caroline" is really about vehicular homicide and that killing hobos is what gets Diamond's rocks off like nothing else.
One of Will Ferrell’s absolute best (and yet it was never included on any of his three 'best of' collections). Portraying the smooth voiced balladeer as a drug addled, racist, verbally abusive train wreck was a stroke of genius, and every line Ferrell has is hilarious. It's here we learn that "Sweet Caroline" is really about vehicular homicide and that killing hobos is what gets Diamond's rocks off like nothing else.
21. Debate 1992 (Pesci 10.10.1992)
The 1992 debate features not two but three of the greatest SNL political impressions of all time, with Phil Hartman as Clinton and Dana Carvey pulling double duty as Bush and Ross Perot (the Perot parts were pre-taped). SNL’s political edge was razor sharp during this period, and this is a perfect example of its edge, from the various barbs at Little Rock, Arkansas to mulling over what would be the proper punishment if Kitty Dukakis was raped and murdered, to the fantasy sequence at the close, perfectly depiciting how each candidate probably felt about each other in reality.
The 1992 debate features not two but three of the greatest SNL political impressions of all time, with Phil Hartman as Clinton and Dana Carvey pulling double duty as Bush and Ross Perot (the Perot parts were pre-taped). SNL’s political edge was razor sharp during this period, and this is a perfect example of its edge, from the various barbs at Little Rock, Arkansas to mulling over what would be the proper punishment if Kitty Dukakis was raped and murdered, to the fantasy sequence at the close, perfectly depiciting how each candidate probably felt about each other in reality.
20. The Fiver Timers Club (Hanks 12.8.1990)
SNL takes a shot at its supposed elitism with this brilliant monologue, as Hanks is welcomed into the most exclusive club in show biz, with members such as Paul Simon, Steve Martin and Elliot Gould on hand to welcome him. The show had no problem poking fun at itself here, with acid tinged barbs at former cast members Anthony Michael Hall and Joe Piscopo scoring huge laughs. Ralph Nader’s cameo at the end is hilariously random, and Martin’s literal suggestion “You can phone it in” is so indicative of the autopilot the show often runs on (though not in this particular era, for the most part).
SNL takes a shot at its supposed elitism with this brilliant monologue, as Hanks is welcomed into the most exclusive club in show biz, with members such as Paul Simon, Steve Martin and Elliot Gould on hand to welcome him. The show had no problem poking fun at itself here, with acid tinged barbs at former cast members Anthony Michael Hall and Joe Piscopo scoring huge laughs. Ralph Nader’s cameo at the end is hilariously random, and Martin’s literal suggestion “You can phone it in” is so indicative of the autopilot the show often runs on (though not in this particular era, for the most part).
19. Wayne’s World (Burke 5.11.1991)
All the Wayne’s World sketches were great, but this one was truly ‘excellent.’ Beginning with their Top 10 Babes of All Time List, Wayne reveals that he has indeed 'been with' their # 1 pick, Madonna, leading to a dead-on parody of the “Justify My Love” video featuring the Material Girl herself. Dana Carvey as Garth, of course, scores the biggest laugh, with his accented crotch (“Look at the unit on that guy") and slinky black suit. It also helps that the Top 10 list includes some hilariously out there choices like Betty Rubble and Granny from the Beverly Hillbillies.
All the Wayne’s World sketches were great, but this one was truly ‘excellent.’ Beginning with their Top 10 Babes of All Time List, Wayne reveals that he has indeed 'been with' their # 1 pick, Madonna, leading to a dead-on parody of the “Justify My Love” video featuring the Material Girl herself. Dana Carvey as Garth, of course, scores the biggest laugh, with his accented crotch (“Look at the unit on that guy") and slinky black suit. It also helps that the Top 10 list includes some hilariously out there choices like Betty Rubble and Granny from the Beverly Hillbillies.
18. Not for Ladies Only (Kahn 5.8.1976)
It’s well documented that the real Barbara Walters did not care for Gilda Radner’s parody, Baba Wawa, but who cares? Gilda’s lisping talk show host was one of her most endearing characters, and her interview with Madeline Kahn’s Marlene Dietrich was a defining moment from the show’s inaugural season. Seeing two of the all time great comediennes of their (or any) era interact in such a hilarious format is simply excellent to witness, and the two have amazing chemistry. The comedy world is a dimmer place without these two stars.
It’s well documented that the real Barbara Walters did not care for Gilda Radner’s parody, Baba Wawa, but who cares? Gilda’s lisping talk show host was one of her most endearing characters, and her interview with Madeline Kahn’s Marlene Dietrich was a defining moment from the show’s inaugural season. Seeing two of the all time great comediennes of their (or any) era interact in such a hilarious format is simply excellent to witness, and the two have amazing chemistry. The comedy world is a dimmer place without these two stars.
17. Debate 1988 (Hanks 10.8.1988)
This is the sketch that set the template for all future debate sketches; when most people think of SNL’s political parodies this is definitely one of the first that comes to mind. Carvey’s Bush isn’t as over the top or as cartoonish as it would later become, but it’s still absolutely hilarious as he tries to skirt around various questions with buzz terms like “thousand points of light” and “stay the course” and demonstrating that he is the most assignation-proof candidate every date with his bulletproof plastic bubble. Jon Lovitz’s robotic Michael Dukakis is equally great, especially his “I can’t believe I’m losing to this guy" quip.
This is the sketch that set the template for all future debate sketches; when most people think of SNL’s political parodies this is definitely one of the first that comes to mind. Carvey’s Bush isn’t as over the top or as cartoonish as it would later become, but it’s still absolutely hilarious as he tries to skirt around various questions with buzz terms like “thousand points of light” and “stay the course” and demonstrating that he is the most assignation-proof candidate every date with his bulletproof plastic bubble. Jon Lovitz’s robotic Michael Dukakis is equally great, especially his “I can’t believe I’m losing to this guy" quip.
16. Lazy Sunday (Black 12.17.2005)
After struggling for years to find its niche in the post-Ferrell era, SNL finally struck gold with Andy Samberg’s Digital Shorts, and this first edition, a rap song about two homeboys (Samberg and Chris Parnell) out on the town to see the first Narnia movie, is still the best. It’s here SNL entered its next noteworthy phase, and while it may not have had the finesse of previous high water eras, the Digital Shorts brought the show a whole new audience that insured its relevance would continue on.
After struggling for years to find its niche in the post-Ferrell era, SNL finally struck gold with Andy Samberg’s Digital Shorts, and this first edition, a rap song about two homeboys (Samberg and Chris Parnell) out on the town to see the first Narnia movie, is still the best. It’s here SNL entered its next noteworthy phase, and while it may not have had the finesse of previous high water eras, the Digital Shorts brought the show a whole new audience that insured its relevance would continue on.
15. Not Gonna Phone It In Tonight (Martin 12.14.1991)
This may well be the greatest cold opening of all time. Another example of SNL unabashedly poking fun at itself and its occasionally lackadaisical nature, Martin vows that on this show he’s actually gonna try and leads the cast and crew on an amazing musical journey through the studio, rallying them all to bring their A-game. From Chris Farley’s “not gonna get liquored up tonight” to Lorne’s over the top opera solo, this is the kind of elaborate piece the show has unfortunately stopped attempting.
This may well be the greatest cold opening of all time. Another example of SNL unabashedly poking fun at itself and its occasionally lackadaisical nature, Martin vows that on this show he’s actually gonna try and leads the cast and crew on an amazing musical journey through the studio, rallying them all to bring their A-game. From Chris Farley’s “not gonna get liquored up tonight” to Lorne’s over the top opera solo, this is the kind of elaborate piece the show has unfortunately stopped attempting.
14. Lunch Lady Land (Gilbert 1.15.1994)
There are so many classic Sandler / Farley sketches, but this one is the best. It builds beautifully, starting with Sandler quietly playing the song solo on his Les Paul with no accompaniment, leading into the reveal of Farley in full-on lunch lady garb, and then exploding with A-Bomb force as Farley thrashes around before being confronted by various foods who are sick of being abused, until Sloppy Joe (Kevin Nealon, perfect casting) comes in and defuses the whole thing, leading to what is actually a very sweet conclusion. This is my favorite of all Sandler songs in that it’s a fully realized piece rather than just a bunch of random (albeit funny) non-sequitors, and having Farley act it out is just sublime.
There are so many classic Sandler / Farley sketches, but this one is the best. It builds beautifully, starting with Sandler quietly playing the song solo on his Les Paul with no accompaniment, leading into the reveal of Farley in full-on lunch lady garb, and then exploding with A-Bomb force as Farley thrashes around before being confronted by various foods who are sick of being abused, until Sloppy Joe (Kevin Nealon, perfect casting) comes in and defuses the whole thing, leading to what is actually a very sweet conclusion. This is my favorite of all Sandler songs in that it’s a fully realized piece rather than just a bunch of random (albeit funny) non-sequitors, and having Farley act it out is just sublime.
13. Census Interview (Walken 4.8.2000)
No one does bizarre like Walken, and this may be his best ever sketch. Tim Meadows is an incredible straight man here, remaining completely serious as Walken gives the strangest answers to the simplest questions, such as stating he has dual citizenship in the U.S. and Florida, and that he’s married to a bobcat. Tina Fey wrote this sketch and I don’t think she’s ever topped it.
No one does bizarre like Walken, and this may be his best ever sketch. Tim Meadows is an incredible straight man here, remaining completely serious as Walken gives the strangest answers to the simplest questions, such as stating he has dual citizenship in the U.S. and Florida, and that he’s married to a bobcat. Tina Fey wrote this sketch and I don’t think she’s ever topped it.
12. Amazing Timesavers (Locklear 5.14.1994)
SNL goes the “Blazing Saddles” route of using extreme racism for the sole intent of parodying how ridiculous the concept really is. A fresh-faced inventor (Mike Myers) appears on an infomercial-type show hosted by a seemingly friendly host (Heather Locklear), who unexpectedly fires off hilariously offensive jabs at Puerto Ricans, Jews, and several other minority groups to the increasing discomfort her guest. This came at a time when this era of SNL was really starting to lose its bite, so a sketch like this was a huge breath of fresh air.
SNL goes the “Blazing Saddles” route of using extreme racism for the sole intent of parodying how ridiculous the concept really is. A fresh-faced inventor (Mike Myers) appears on an infomercial-type show hosted by a seemingly friendly host (Heather Locklear), who unexpectedly fires off hilariously offensive jabs at Puerto Ricans, Jews, and several other minority groups to the increasing discomfort her guest. This came at a time when this era of SNL was really starting to lose its bite, so a sketch like this was a huge breath of fresh air.
11. The Real World with Bob Dole (Goodman 3.16.1996)
Norm’s Bob Dole may be my favorite impression of a political figure the show has ever done, and he was never utilized better than here, as the septuagenarian candidate participates in the MTV reality show, angering everyone he lives with his dominating personality and claiming ownership over objects such as a chair and peanut butter. This was split into three parts and each of them are hilarious, culminating with Dole dragging his chair through the streets as R.E.M. drones on behind him.
Norm’s Bob Dole may be my favorite impression of a political figure the show has ever done, and he was never utilized better than here, as the septuagenarian candidate participates in the MTV reality show, angering everyone he lives with his dominating personality and claiming ownership over objects such as a chair and peanut butter. This was split into three parts and each of them are hilarious, culminating with Dole dragging his chair through the streets as R.E.M. drones on behind him.
10. Word Association (Pryor 12.13.1975)
This may still be SNL’s ballsiest sketch of all time. I compared “Amazing Timesavers” to “Blazing Saddles,” and that comparison may be even more apt for this sketch. Chase interviews Pryor for a janitor position, but before he can officially get the job, he must participate in a word association test. It starts out fun but soon takes a dark turn when Chase decides to fire off a series of racial terminology while Pryor struggles to come up with something anywhere near as offensive. Chevy’s famous use of the ‘N’ word was daring and unexpected, and Pryor’s ‘dead honkey’ retort is delivered perfectly. This is a perfect critique of the amount of time and energy people waste trying to offend others.
This may still be SNL’s ballsiest sketch of all time. I compared “Amazing Timesavers” to “Blazing Saddles,” and that comparison may be even more apt for this sketch. Chase interviews Pryor for a janitor position, but before he can officially get the job, he must participate in a word association test. It starts out fun but soon takes a dark turn when Chase decides to fire off a series of racial terminology while Pryor struggles to come up with something anywhere near as offensive. Chevy’s famous use of the ‘N’ word was daring and unexpected, and Pryor’s ‘dead honkey’ retort is delivered perfectly. This is a perfect critique of the amount of time and energy people waste trying to offend others.
9. The French Chef (Idle 12 / 9 / 1978)
A bloody great sketch! Aykroyd’s Julia Child is incredibly dead-on as she tries in vain to heal an injury sustained while gutting a chicken. This was a rare instance in which excessive gore could actually be legitimately funny, mostly due to Aykroyd’s performance as he tried to pretend that the injury was nothing and could be solved easily.
A bloody great sketch! Aykroyd’s Julia Child is incredibly dead-on as she tries in vain to heal an injury sustained while gutting a chicken. This was a rare instance in which excessive gore could actually be legitimately funny, mostly due to Aykroyd’s performance as he tried to pretend that the injury was nothing and could be solved easily.
8. Point / Counterpoint (Kidder 3.17.1979)Dan Aykroyd does not look back too fondly on his time as an Update anchor, claiming he never really fully grew into the role. Still, he did create this all time classic bit, a parody of the “60 Minutes” segment, and this particular installment (actually done the year after he handed over the anchor position to Bill Murray) is the most fondly remembered, as he and Jane Curtin go back and forth over the issue of alimony in the Lee Marvin / Michelle Triola divorce, resulting in the immortal “Jane, you ignorant slut!,” a stinging jibe at the rampant sexism still prevalent in the late 1970s’. This line does for sexism what “Blazing Saddles” and the “Word Association” sketch did for racism, highlighting the sheer stupidity of the whole concept.
7. White Like Me (Murphy 12.15.1984)
Eddie Murphy returned to SNL to host the Christmas show in the 1984-85 (the year Billy Crystal, Martin Short and Christopher Guest, among others, were on the show), and unleashed this brilliant short film about race relations in the 1980s’ and specifically in New York City. While not as biting as the Word Association Sketch a decade earlier, there’s plenty of great satire here, such as the revelation that white people give each other stuff for free when they’re alone and a whole city bus becoming a moving speakeasy once the lone black man gets off. This was Eddie’s magnum opus for his SNL association as well as the high water mark for the entire Ebersol led era.
6. Clinton at McDonald’s (Arnold 12.5.1992)
The greatest of all sketches to feature Phil Hartman as Bill Clinton, parodying Slick Willie’s well known fast food addiction and subsequent weight problem when he first entered office. The highlight is where he justifies his eating of patrons’ food as a means of demonstrating his plan to feed Somalia, and eventually needs to be handed a drink as he was on the verge of choking on the air. This sketch more than anything exemplifies how good they were at political humor back then in that they were able to make these figures funny in situations that otherwise had absolutely nothing to do with politics; nowadays all they can write are ‘address the nation’ or ‘debate’ sketches, and they don’t even do those very well anymore.
The greatest of all sketches to feature Phil Hartman as Bill Clinton, parodying Slick Willie’s well known fast food addiction and subsequent weight problem when he first entered office. The highlight is where he justifies his eating of patrons’ food as a means of demonstrating his plan to feed Somalia, and eventually needs to be handed a drink as he was on the verge of choking on the air. This sketch more than anything exemplifies how good they were at political humor back then in that they were able to make these figures funny in situations that otherwise had absolutely nothing to do with politics; nowadays all they can write are ‘address the nation’ or ‘debate’ sketches, and they don’t even do those very well anymore.
5. Chippendales (Swayze 10.27.1990)
Chris Farley breaks through in a big way, as an obese male dancer competing against muscular Patrick Swayze for a job as Chippendales dancer. Farley’s grotesque, manic dance moves are a sight to behold. It’s not that Farley is fat that makes the sketch funny, because Bobby Moynihan or Horatio Sanz sure as hell couldn’t make this a classic. It’s Farley’s surprisingly diverse physicality in spite of his weight combined with his energy and sheer fearlessness: he’s not afraid to show his body at its most vulnerable and open to ridicule, instead putting it on full display for the audience’s enjoyment. This is both the triumph and tragedy of Chris Farley.
Chris Farley breaks through in a big way, as an obese male dancer competing against muscular Patrick Swayze for a job as Chippendales dancer. Farley’s grotesque, manic dance moves are a sight to behold. It’s not that Farley is fat that makes the sketch funny, because Bobby Moynihan or Horatio Sanz sure as hell couldn’t make this a classic. It’s Farley’s surprisingly diverse physicality in spite of his weight combined with his energy and sheer fearlessness: he’s not afraid to show his body at its most vulnerable and open to ridicule, instead putting it on full display for the audience’s enjoyment. This is both the triumph and tragedy of Chris Farley.
4. Behind the Music (Walken 4.8.2000)
I’ll fully admit that this isn’t necessarily my favorite Will Ferrell sketch, but this one deserves its high ranking due to its cultural impact: this was sketch that truly cemented Will as the heir apparent to Hartman and Carvey, ensuring his status as one of SNL’s most legendary cast members. 15 years later, young kids are still quoting this sketch and wearing T-shirts with Ferrell’s face on them as he merrily pounds away at his instrument of choice. Of course, Walken is just as essential to this sketch, delivering its most famous line (something about a fever) and channeling his weird nature to perfectly play a smarmy record producer.
I’ll fully admit that this isn’t necessarily my favorite Will Ferrell sketch, but this one deserves its high ranking due to its cultural impact: this was sketch that truly cemented Will as the heir apparent to Hartman and Carvey, ensuring his status as one of SNL’s most legendary cast members. 15 years later, young kids are still quoting this sketch and wearing T-shirts with Ferrell’s face on them as he merrily pounds away at his instrument of choice. Of course, Walken is just as essential to this sketch, delivering its most famous line (something about a fever) and channeling his weird nature to perfectly play a smarmy record producer.
3. Matt Foley, Motivational Speaker (Applegate 5.8.1993)
As great as Chippendale’s is, and as awful as subsequent appearances of this character were (though I do like the Christmas one), there is no denying that this sketch is the definitive Chris Farley piece: loud, destructive, energetic, completely in control of a character that is by all means out of control, taking him in unpredictable and hilarious directions that not even his cast mates could see coming (as evidenced by David Spade’s constant smirking throughout this sketch). The famous fall through the breakaway table was a complete surprise and the reactions are totally genuine. Farley brought a sense of danger to the air that hadn't been seen since Belushi, and SNL benefited beautifully from his fearlessness.
2. Shweddy Balls (Baldwin 12.12.1998)
Pun sketches could either be very good, or soul crushingly awful (see “Cork Soakers”). “Shweddy Balls” looks completely juvenile on paper, the type of pun a 12 year old can come up with…and yet it’s executed perfectly by three incredibly skilled performers (Shannon, Baldwin and the pitifully underrated Ana Gasteyer). If any of the three had broken character even slightly, the sketch would be ruined, its juvenile main joke being exposed for what it is. However, each player keeps their composure perfectly, and it helps that the dialog before Baldwin is even introduced is also incredibly funny, especially Shannon’s monotone carping about her ‘excessive rat problem.’
And now, folks, the moment you’ve all been waiting for…
1. The Sinatra Group (Sting 1.19.1991)
There was no greater cast member in SNL history than Canadian powerhouse Phil Hartman. In his eight years on the show, he carried the show on his back with Olympian strength, mastering anything and everything you could possibly throw at him, and excelling in even the worst sketches. His Frank Sinatra was the antithesis of the careful, milquetoast tribute Joe Piscopo did in the early 1980s’; Hartman’s Sinatra clearly drew from a different well, playing clearly off of smut writer Kitty Kelly’s portrayal of Ol’ Blue Eyes as a boozing, womanizing and relentlessly cruel mafia lackey whose ego could not be contained. It wasn’t the most sensitive portrayal of the singing legend, and it drew the ire of his family, but it made for fantastic comedy, and Phil never did the impression with more venomous finesse than in this 1991 sketch, a parody of the political panel discussion show “The McLaughlin Group.” Designed as forum for discussing contemporary issues in the music industry, it’s quickly apparent the show is nothing more than a vessel for Frank to air his bitterness by verbally flogging his hapless panelists, including Sinead “Sine-aid / Sinbad / Q-Ball / Uncle Fester” O’Connor (Jan Hooks), Steve Lawrence and Eydie Gormet (Mike Myers and Victoria Jackson), 2-Live Crew’s Luther Campbell (Chris Rock) and a perpetually sneering Billy Idol (Sting). This is insult comedy at its sharpest, funniest, and most vicious, and every line Hartman delivers here is a riot, whether he’s challenging Idol to fisticuffs (“You don’t scare me, I got chunks of guys like you in my stool!”) or chiding Gormet and Lawrence for riding his coattails (“You brownnoses…you’re just swimming in my wake”). Is it the greatest of all time? Well, that’s subjective, like the rest of this list. But it’s an undeniably brilliant showcase for the show’s most diverse player, from a peak period where everything from the writing to the directing was absolutely top notch.
No comments:
Post a Comment