If there was one word to describe the 13th season of SNL, it would be “consistent”. No longer on the bubble thanks to the previous year’s success, SNL in 1987-88 continued pretty much in the same direction as the last season with a little more confidence and a little less to prove.
Read MoreAfter barely getting renewed following the 1985-86 season, the next year was a make-or-break year for Saturday Night Live. Fortunately for Lorne Michaels, the show, and NBC, this reprieve paid off with the strongest season since the original cast’s heyday in the late 70’s.
Read MoreLorne Michaels’ first season back at SNL following his five year hiatus from the show is considered one of the worst seasons in the show’s history, along with 1980-81 and 1994-95. Indeed, there are quite a few obvious problems with this season, and as a whole the quality was below the standard of the first four seasons of the show, or even the later Dick Ebersol years. Yet for some reason, this year has a certain watchability to it that 1980-81 or 1994-95 don’t have.
Read MoreDick Ebersol’s “Steinbrenner season” gambit, where he loaded the SNL cast with established comedy writer-performers, paid off for the most part. Compared to the preceding seasons, the show was more consistently funny, and even the weakest show of the year wasn’t truly bad. The professionalism that the ringers brought to the show and increased use of prerecorded material gave this year an increased slickness; in a way, this may have given the show a bit more of a blandness than in previous seasons, but only insofar that the risk of failure wasn’t as big a factor as it had been before. Indeed, there were a number of enduring classics that came out of this season, and even though the big stars dominated every week, the returning cast and writers contributed some of their best work.
Read MoreThis has always been an "in-the-middle" season for me; it has some good shows, some weaker shows, but none of the peaks or valleys of 1981-82, nor does it have that oddball feel the previous season had.
Read MoreA lot has already been written about this season of Saturday Night Live, and a fan is more likely to read extensively about this season before actually watching a single episode. The first time I actually saw these shows was in late 1998, when they ran on the Comedy Network; I was surprised that they weren't anywhere as terrible as their reputation made them out to be. The shows were still weak, but I had already seen worse first-run shows by that point. When watching the show again for these reviews, I have to admit it was a little more draining this time around, but that could have been because I was in a more analytical frame of mind, and trying to identify specific strengths and weaknesses in sketches.
What I saw was a decent group of actors without a strong group dynamic. It usually helps a new SNL cast when some of the members have worked together in the past, the most notable examples being the original 1975 ensemble and the 1986 "second golden age" group. Ferris Butler confirmed that the entire creative staff had not worked together before. Several of the writers were also very young or inexperienced. Twelve episodes would not have been enough time for such a cobbled-together team of cast and writers to find their collective voice (for comparison's sake, the original cast's 12th show was Dick Cavett / Jimmy Cliff). There definitely was no lack of talent in either group, but they would have benefited from a little more time, a little less pressure and better leadership at the top.
A lot of the blame for the season's woes rightly falls on Jean Doumanian's head. Most accounts I've read indicate that she was not suited to a creative role, yet wouldn't cede authority on that particular front. One of the most widely-circulated stories about Doumanian's creative input was her written advice on one 1980-81 sketch: "Make it funnier". For all the criticism Doumanian deserves, though, NBC should get its share for selecting her for the role of producer. Once the network's buyer's remorse about Doumanian set in, their increased meddling with the show probably didn't help matters much either.
That said, I'm not entirely convinced that the show would have been received better under anyone besides Jean Doumanian. One such scenario would be if Al Franken hadn't done the "Limo for a Lamo" bit in May 1980 and succeeded Lorne Michaels as producer as intended. Franken may have been able to retain some key creative staff, and that likely would quell the cries of "pretender" from the viewers and critics, yet that may not have been enough. Franken (and the late Tom Davis) did actually produce the first season after Lorne Michaels returned to SNL in '85, which had similar negative response to the Doumanian year. (Michaels has served as executive producer for every season since except 1986-87 and 1995-96: he had a more hands-on role during these "retooling years" that followed very poorly received seasons). Continuity in creative personnel from season 5 may not have helped the show either, since the season before often had a tired and burnt-out aura.
I sometimes think Doumanian's failures ensured SNL's survival in the long-term, by necessitating the hiring of a network suit (Dick Ebersol) who served as a buffer between the show and NBC. His show wasn't quite as edgy as the Michaels or even Doumanian versions, but Ebersol kept the show going long enough so that by the time he stepped down in 1985, Lorne Michaels was ready to return to the show.
I'm always interested in hearing the different takes on life at the show; I want to thank 1980-81 writer Ferris Butler for his valuable information regarding that season and his identification of show staff in bit parts as well. Special thanks also goes to Raj for his information on the extras. If anyone has more information regarding sketch writing credits, people doing background work, or are just interested in telling their side of their story, please feel free to leave a comment or contact me directly.
Personal website of photographer and writer Bronwyn Douwsma.
I’m on the bus. It’s too early to be human and I haven’t had my coffee yet so I don’t really want to do much; maybe read or listen to music, things that help tune out the other people or the monotony of the commute. When I leave the suburbs, it's usually dark. I sometimes look out the windows, but more to see how far I’ve traveled than at anything interesting. By the time I arrive downtown, I can see the sun coming up over the harbour.
The year is winding down. I’m preparing to go to New Brunswick for my regular Christmas visit with the family; my travel arrangements up there have all been taken care of. I haven’t bothered with Christmas shopping yet; my cash flow was a little tight until my last paycheque came in, and my tolerance for the malls has dropped over the years. Everything costs too much money now.
“Midnight Express Special” sketches include “Sunrise Semester: Basic Photography”, “Mamorex Video Tape”, “Kanadian Korner”, “Promo: Tomorrow, Today, Tonight”, “Bill Needle’s Mailbag”, “Message From Guy: Midnight Express Special”, and “Midnight Express Special”.
“Cookery Crock” sketches include “Sunrise Semester: Disasters In The Home”, “Nasex Nasal Deodorant”, “Bill Needle’s Mailbag”, “Kanadian Korner”, “Promo: The Freddie De Cordova Show”, “Cookery Crock” and “Quincy: Cartoon Coroner”.
“Two-Way TV” sketches include “Sunrise Semester: Astrology”, “Promo: Monster Chiller Horror Theatre”, “Kanadian Korner”, “SCTV News”, “Comment with David Brinkley”, “Promo: Cruisin’ Gourmet”, “Two-Way TV”, “Bill Needle’s Mailbag”, “Promo: Crazy Crafts”, and “Sermonette: Rabbi Karlov”.
“Alpha Channel” sketches include “Gordon Lightfoot Sings Every Song Ever Written”, “Cooking With Marcello”, “Kanadian Korner”, “Crazy Crafts”, “Message From Guy: Alpha Channel”, “Promo: Alpha Channel”, “Bill Needle’s Mailbag”, and “Dialing For Dollars”.
“The Irwin Allen Show” sketches include “Men On Women”, “Message From Guy: Men On Women”, “Kanadian Korner”, “Cooking With Marcello”, “Promo: Taxi Driver”, “Bill Needle’s Mailbag”, “Message From Guy: The Irwin Allen Show”, and “The Irwin Allen Show”.
“Big Brother” sketches include “Got A Minute?”, “Kanadian Korner”, “Promo: Taxi Driver”, “Message From Guy: The New Year”, “Message From Prickley: The New Year”, “SCTV New Year’s Eve Party 1983”, “Komrade Kangaroo”, “Comrade Allen”, “Promo: Doublethink”, and “The Praise Big Brother Show”.
“Star Wars” sketches include “Sunrise Semester: Do-It-Yourself Advertising”, “Promo: Chick Monk: Roadie For The Defense”, “Kanadian Korner”, “SCTV News”, “Joni Mitchell’s For Dogs Only”, “Bill Needle’s Mailbag”, “SCTV Premiere: Star Wars”, and “Dialing For Dollars”.
“Hollywood Salutes Its Extras” sketches include “Message From Prickley: Extras”, “Mamorex Cassette Tape”, “Bill Needle’s Mailbag”, “Promo: Taxi Driver”, “Kanadian Korner”, “Howard’s Bristol Cream”, “Sneak Previews”, “Promo: Hawaii Five-Ho”, “Hollywood Salutes Its Extras”, and “Promo: White Man, Black Girl”.
There’s a podcast called The Loudest Girl In The World, hosted by Lauren Ober. The show concerns Ober’s autism diagnosis at 42, as well as her experience dealing with this information and opening up to others about it. When I listened to it last summer, I related pretty heavily to what she was talking about. I’ve also started to make peace with how my own brain works in the last few years. It’s been a rough road, though.