Second City TV

As a previous poster has said, SNL and SCTV were both comedy sketch shows, but that's where the resemblance ends. SNL far too often descended into juvenile, and sometimes even infantile, humor and its casts were way too uneven. It had the brilliant and manic John Belushi, but it also had the mediocre Garrett Morris, who really didn't do much of anything. It had the gifted Gilda Radner, who could do damn near anything, but it also had Laraine Newman, who didn't do all that much, either, and many of the cast members in its later shows really had no business being there. SNL's cast did various running characters, but, with few exceptions, each person's character wasn't really distinguishable from the actor himself. SCTV had no such problems. John Candy's Johnny LaRue, Josh Shmenge and Gil Fisher ("The Fishin' Musician") were about as different from each other and Candy himself as you could possibly get, as were Rick Moranis' Doug McKenzie and Rabbi Yitzhak Karlov, Andrea Martin's Edith Prickley and Mrs. Falbo, etc. Another big difference between the two shows was the writing. Virtually every episode of SCTV was as sharp, incisive and devastatingly funny as anything that ever came out of television; SNL on the other hand could go for weeks without having a decent show, and in fact went for several YEARS in the '80s without having any even HALFWAY decent shows. SCTV integrated all of its guest stars into the actual storyline of the episode itself, with often surprising results (musicians Dr. John, Tony Bennett and Fee Waybill of the Tubes, for example, turned out to be quite good). SNL put its guest hosts into some of the sketches--with many of them obviously reading their lines off of cue cards--and most didn't acquit themselves particularly well.

One of SCTV's main strengths was that it gave its audience credit for having the intelligence to understand what it was trying to say and do, which was something that SNL often lost sight of, especially in its later years. And how could anyone forget such brilliant pieces as "Abbott and Costello in a Turkish Prison"; "Dr. Tongue's 3-D House of Stewardesses"; the side-splitting parody of "Ocean's 11" with the monumentally untalented Vegas schlock comic Bobby Bittman and his even less talented idiot son Skip; the hapless Count Floyd of "Monster Chiller Horror Theater", who--no matter how pathetic the movie ("Tonight's film: 'Bloodsucking Monkeys from West Mifflin, Pennsylvania'!") he was showing--always stubbornly claimed, "Oooh, wasn't that scary, kids?"; "The Sammy Maudlin Show"; "Farm Film Report" ("They blowed up real good!"); the list goes on and on. Most of the sketches are so sharp, witty and clever that they don't date at all, even though they're almost 30 years old. SCTV set a high standard for sketch comedy, and so far no other show has measured up.

Off the wall comedy show that greatly surpasses Saturday Night Live a thousand times over, with a better assortment of performers, skits and writing. Stars such as John Candy, Catherine O'Hara, Rick Moranis and Eugene Levy went on to bigger, deservedly, and better things after the success of SCTV.

It's a shame so few people have seen this show, which ranks among the most brilliantly hilarious and astonishinly inventive of all television comedy series. It's important to note that the Cast List here is very misleading, noting only one character per actor. In reality, SCTV operated much like MONTY PYTHON'S FLYING CIRCUS, THE KIDS IN THE HALL, and Saturday NIGHT LIVE, programs which it is most definitely AT LEAST on a par with. All these versatile and talented performers played literally DOZENS of character roles -- often pulling off multiple roles WITHIN THE SAME SCENES! The writing and acting talent level on this show was of the highest caliber at all times and they did it all on one of the lowest budgets in modern TV history.

All of the user comments are great but they leave out some of the best contributions from SCTV - The McKenzie Brothers and the Redneck Movie Critics.

From the beginning of the opening credits where it was announced that "SCTV is on the air" followed by t.v. sets being thrown out of windows to crash on the sidewalks below, the laughs ensued.

I understand that Canadian Television had an extra two minutes more than U.S. television, so they asked Dave Thomas and Rick Moranis to come up with an extra two minutes of material that would air on Canadian Television. Their contribution? The Mackenzie Brothers, eh? It was all ad-lib. The Great White North sketch was eventually added to the American version.

Each week would be a different topic - "This week, our topic is how to stuff a mouse in a beer bottle, eh?" "Take off, eh?" "No, you take off, you hoser." "How do you like my new toque (rhymes with kook), eh?" "It's a beauty way to go, eh?" These guys were absolutely hilarious! They had the entire country doing Canadian-speak," eh?

The other guys I loved were the Red-neck movie reviewers. Dressed like Elmer Fudd on a wabbit-hunt, Joe Flaherty and John Candy rated movies based on whether they "blowed 'em up real good," or not. You guessed it - if the movie "blowed 'em up real good" (followed by lots of guffaws and yuks), it was a good movie. If there were no car crashes or explosions, well, it was a bad movie.

This was an extremely clever show and launched the careers of some powerful comic geniuses (Eugene Levy, Martin Short, Catherine O'Hara included among those already mentioned). It's definitely worth the late-night t.v. watch on T.V. Land.

Like SATURDAY NIGHT, SECOND CITY TV was a sketch comedy show with a repertory cast. But there, the resemblance ended. Instead of a bunch of disconnected sketches with musical interludes, SECOND CITY TV was a concept show about the programs and behind-the-scenes shenanigans of a cheesy, low-budget TV station. Therefore, unlike SNL, which took potshots at anything from current events to whatever celebrity was guesting, SECOND CITY TV concentrated on the television industry.

The results were some of the most incisive and skillful parodies in TV history, from commercials for useless products to self-congratulatory talk shows to pompous "cultural" programming. The talented cast members skewered such icons as Bob Hope and Barbra Streisand and created such memorable characters like Joe Flaherty's sleazy station owner Guy Caballero and Andrea Martin's vulgar station manager Edith Prickley. Unlike SNL, SECOND CITY TELEVISION never pandered to the lowest common denominator; it always respected its audience with intelligent humor that satirized the foibles of both the television industry and the people in it. The syndicated show's success would result in a 90-minute network version.